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EMBROIDERY. 



(2) 



THE 



LADIES' HAND BOOK 



FANCY AND ORNAMENTAL WORK, 



COMPRISING 



DIRECTIONS AND PATTERNS 



FOR WORKING IN 



APPLIQUE, BEAD WORK, BRAIDING, CANVAS WORK, KNITTING, 

NETTING, TATTING, WORSTED WORK, QUILTING, 

PATCHWORK, AC, AC. 

ILLUSTRATED WITH 262 ENGRAVINGS. 



COMPILED FROM THE BEST AUTHORITIES, 

BY MISS FLORENCE HARTLEY 



$ ft i I u & 1 I u ft I a : 
G. G. EVANS, PUBLISHER, 

NO. 439 CHESTNUT STREET, 

1859. 



T 



v 



$ 



Entered according to the Act of Congress, in the year 1859, by 

G. G. EVANS, 

in the Clerk's Office of the District Court for the Eastern District of Pennsylvania. 



STEREOTYPED BY JESPER HARDING & SoN, 
INQUIRER BUILDING, SOUTH THIRD STREET, PHILADA. 



PRINTED BY TlIOMAS SlNEX, 
NO 619 JAYNE STREET, 



PKEFACE. 



In the preparation of this work for the press, the writer has endeavored to 
furnish all that is essential to the proper understanding and practice of ornamen- 
tal and fancy work, in the plainest language, without introducing unnecessary 
and irrelevant topics. Nearly all the patterns for needle work, and other parts of 
domestic adornment used in this country, are derived from English, French, and 
German sources ; and of these the compiler has freely availed herself, adding 
to them such original patterns as were at her command. 

For some of the directions given, she is indebted to Miss Lambert's "Guide," 
and to several anonymous English, French, and German works ; and she has 
adopted the alphabetical order in the arrangement of the subjects, as in Mrs. 
Pullan's excellent " Lady's Manual of Fancy Work." The compiler's own ex- 
perience and practice have enabled her to supply a large amount of original in- 
formation in the several departments of the work. The large number of working 
patterns, of various descriptions, distributed throughout this book, she trusts 
will be recognized as a very important feature, and one which will greatly pro- 
mote the main object which she has kept constantly in view — real 'practical 
utility. 

(5) 



CONTENTS. 



PAGE 

APPLIQUE, OR APPLICATION 13 

Slipper in Applique 16 

BEAD WORK 17 

Design for a Pendant Flower-Basket 18 

Bugle Pen-Wiper for a Table 19 

Hour Glass Candle stand, with Bead Fringe and Tassels 20 

Bead Book Markers 22 

Bead Collars 23 

Bead Hair Ornaments 23 

Bead-Net Head-Dress 23 

Mat in Bead Work and Crochet 26 

Infant's Shoe, Ornamented with Beads 26 

Bead Purse 28 

Pole-Screen, in German Embroidery and Beads 29 

Bead Needle-Book 30 

Reticule 31 

Pattern for Reticule Enlarged 32 

Candlestick Ornament in Transparent Beads 33 

General Directions for Bead Work, and the Materials Used 34 

BRAIDING 35 

Patterns for Braiding 35 

Braid Work— Baby's Shoe 36 

Patterns for Braid Work 37 

Brioche Cushion, Braided on Merino 38 

French Feather Fan 39 

Braiding for Dress or Skirt 41 

Braided Reticule 42 

Braiding for a Dress or Flannel Skirt 43 

Braiding Pattern for Slipper 46 

(7) 



g CONTENTS. 

PAOK 

Slipper Pattern 46 

Pattern for Dress or Apron 47 

Lounging or Smoking Caps. No. 1 47 

Lounging or Smoking Caps. No. 2 48 

Smoking Cap ' 48 

General Directions for Braiding, and the Materials Used 50 

BUTTON-HOLE STITCHES 52 

BOBBIN WORK 52 

BRODERIE ANGLAISE 53 

Specimens of Patterns Suitable for Broderie Anglaise 53 

BRODERIE EN LACET 61 

Apron in Broderie En Lacet 61 

Broderie A La Minute 63 

BERLIN, OR CANVAS WORK 63 

Silk Canvas 63 

Cotton Canvas 64 

Thread Canvas 64 

Penelope Canvas 64 

Flattened Canvas 65 

Woollen Canvas 65 

Bolting 65 

Implements Used in Berlin, or Canvas Work 65 

Needles 65 

Embroidery Frames 65 

Point Paper or Checked Paper 67 

To Dress a Frame for Cross Stitch 67 

To Dress a Frame for Cloth Work 67 

To Dress a Frame for Tent Stitch .... 68 

Colors 68 

Stitches for Berlin, or Canvas Work 68 

Tent Stitch 69 

Cross Stitch 6'J 

Gobelin, or Tapestry Stitch 70 

Irish Stitch 71 

German Stitch 71 

Wools and Silks Used in Canvas Work 71 

German Wool, or Zephyr Merino 71 

English Wool 72 

Worsted 72 

Silks Used for Canvas Work 72 

Traveling Bag 74 

Specimens of Berlin, or Canvas Work 74 

The Turkish Bag 74 



CONTENTS. 9 

PAOV 

Sofa Pillow in Fluted or Ribbed Berlin Embroidery 76 

Note Case ~ 79 

Porte Monnaie 80 

Ottoman in Orne Fluted Embroidery 80 

Carriage Cushion 81 

German Knitting Bag 83 

General Remarks on Berlin, or Canvas Work 86 

Varieties of Canvas, or Berlin Work 87 

Raised Berlin Work 87 

Straight Cross-Stitch 87 

Windsor-Stitch 88 

Pavilion-Stitch 88 

Willow-Stitch 88 

Berlin-Stitch 88 

Long Plait 89 

Josephine-Stitch 89 

Czar-Stitch 89 

Perspective-Stitch 89 

A Star 89 

Feather-Stitch 90 

Stitch A La Vandyck 90 

Point-Stitch 90 

Square Plait 90 

Double Star 90 

Crossed Long-Stitch 91 

Fancy-Stitch 91 

Darmstadt Pattern 91 

Palace Pattern 92 

Diamonds 92 

Princess-Stitch 92 

Cane Pattern »2 

Sutherland-Stitch 9.3 

CANVAS LACE WORK 93 

CHENILLE WORK 95 

Glove Box in Chenille, Gold Cord. <tc 95 

Chenille on Canvas 95 

CHAIN-STITCH 97 

CLOTH-WORK 98 

Card-Board, or perforated C:ird 100 

COTTONS 100 

CORDS 101 

CROCHET 102 

Specimens of Crochet Work 10.3 



10 CONTENTS. 

PAGE 

Lounging Cap 103 

Crochet Bead Work Ill 

Purse, in Crochet Bead Work 112 

EMBROIDERY 118 

Specimens of Muslin Embroidery 120 

Specimens of Silk Embroidery 132 

FANCY FLOWERS 135 

Fire Screen, of Pheasants' Wings 136 

Flowers, in Wax, Shells, ifcc 136 

FRINGES 137 

GUIPURE WORK 138 

Specimens in Guipure Work 138 

Collar in Irish Guipure 138 

HERRING-BONE 143 

A Baby's First Shoe 143 

HEM-STITCH 145 

HONITON LACE IN CROCHET 145 

Honiton Lace Sprig 146 

KNITTING 148 

Specimens of Knitting 151 

Book Cushion in Orne Knitting 151 

Explanation of Terms Used in Knitting, and Hints on Knitting 153 

Opera Cap 155 

Four Beautiful Patterns 157 

A Baby's Sock 159 

Baby's Socks. 1st Size 159 

Fringe. No. 1 160 

Fringe. No. 2 160 

Herring-Bone Purse 160 

A Strong Purse 161 

Porcupine Knitting for a Purse 161 

Spotted Purse 162 

Another Purse 162 

A Net Purse in Points 162 

Corkscrew Netting for a Purse 162 

D'Oyleys 163 

Save-All Bag 163 

Moss-Stitch, to Make a Thick Bag 164 

Double Knitting 164 

Double Blanket 164 

A Gentleman's Comforter. Double Knitting 165 



CONTENTS. 11 

MSB 

A Comfortable Comforter 165 

Double Knitted Shawl 165 

Double Knitted Shawl, with Colored Border 165 

Pincushion Cover. Leaf Pattern 166 

KNOTTING 166 

LACE-WORK 167 

MUSLIN WORK 168 

MARKING IN EMBROIDERY, INK, AND COLORED COTTON 168 

Specimens of Marking 169 

NETTING 177 

Plain Netting 178 

Grecian Netting 179 

Plain Open Netting 179 

Diamond Netting 179 

Diamond Netting, of Five Stitches 180 

Netting with Beads 181 

Netted Curtain 183 

First Embroidered Stripe 184 

Second Embroidered Stripe 185 

Vandyke Edging 185 

Short Purse, in Netting 186 

NEEDLES 188 

PATCHWORK 189 

POINT LACE 193 

Collar in Spanish Rose Point 204 

Pineushion Cover in Point Lace 205 

Crochet Point Lace 206 

Handkerchief Border, in Antique Point Lace 209 

Point Collar in Crochet 211 

PERFORATED CARD-BOARD 212 

PORTFOLIOS 212 

PICTURES WITH LEAVES 212 

PINE CONES 213 

PENWIPERS 213 

POINT OR CHECKED PAPER 213 

PASSEMENTERIE 214 

POTICHOMANIE 214 



12 CONTENTS. 

PAOK 

QUILTING 217 

RINGS 218 

Purse with Bars and Rings 219 

A Note, or Card Case, in Covered Rings .". 220 

SCALE EMBROIDERY 222 

Elegant Sachet —Perch Scale Embroidery 222 

SHADES FOR LAMPS 224 

SILKS 226 

TAPESTRY 227 

TATTING OR FRIVOLITE 227 

Tatting Open Stitch 227 

Star Tatting 228 

Common Tatting Edging 228 

Trimming in Tatting or Frivolite 228 

TAPE WORK 231 

TRANSFERRING 232 

TISSUE PAPER 232 

VELVET BALLS 233 

WIRE WORK 233 

WHEELS 233 

WORSTED WORK 234 

Chess Table Covered in Worsted Work 234 

Cover for Table in Worsted Work 236 

Pattern for Worsted Work 238 

Worsted Work 239 

CONCLUSION 239 



LADIES' HAND BOOK 

OF FANCY AND ORNAMENTAL WORK. 



APPLIQUE, OR APPLICATION. 



Appliqu^, or application, is the laying of one kind of material over another. 
Pieces of different forms and colors are placed one over another, and secured at 
the edges by braids, cords, or embroidery. If neatly done and arranged with 
taste and ingenuity, it is exceedingly handsome. It has been applied very 
successfully to ladies' cloaks, for some years past. 

Applique" may be used on any material, such as cloth, velvet, silk, leather, or 
muslin, and lace. In forming the pattern, it should be carefully drawn on the 
material intended for the applique", and a corresponding one on that intended 
for the ground, which may consist of the same or other material. Velvet can 
be beautifully arranged upon cloth, or satin upon velvet, or silk upon satin, 
muslin on lace, or lace upon muslin. If velvet, satin, or silk is used, it is ne- 
cessary to paste a thin paper over the back, before the applique* is cut, to render 
it firm and prevent its unraveling. The pieces, when cut, are to be care- 
fully tacked down on the material, and the edges secured either by cord, braid, 
or satin-stitch embroidery, varying the colors according to taste. Where flow- 
ers are chosen, the color of the flowers or leaves is preferable. What are called 
Turkish designs are peculiarly suited for this kind of work. Vine leaves are 
also very handsome, and the tendrils can be formed by cord, chenille, &c. 

For bags of various kinds, merino and cashmere can be used, making the 
applique* of velvet and silk. This is also suitable for slippers, sofa-pillows, &c. 

(13) 

\ 



14 



APPLIQUE. 



It can be edged with gold cord, or braid, or chenille. Slippers of kid, with vel- 
vet applique*, or velvet slippers with kid applique are very handsome. 

A set pattern is much the handsomest for table covers, ottomans, or large 
pieces of work. 

As applique* requires stamping tools and machinery for any extensive piece of 
work, it can only be used by private persons, on a comparatively small scale ; 
but when neatly done, for bags, slippers, ottomans, &c, it richly repays the 
trouble taken. 




LADIES TRAVELING BAG. 



The two sides of this beautiful traveling bag are made of gray leather, or 
cashmere. The black pattern is cut from velvet, and fastened on with gum and 



APPLIQUE^ 



15 




SLIPPEK IN APPLIQUE. 



^ 



16 



APPLIQUE*. 



a carefully sewn edge — the white spots are beads — steel beads to be preferred. 
The pattern may be drawn of any size desirable, 
on writing paper, and then traced with a sharp- 
pointed bodkin, through the paper on the leather. 

SLIPPER, IN APPLIQUl 

Materials. — Half a yard of the finest black 
cloth ; nearly the same quantity of scarlet or crimson 
velvet. Gold thread, of the finest quality, No. 3, 
two skeins ; and fancy cord, of the color of the 
velvet. 

Cut out of a sheet of foolscap paper, the exact 
size required for the slipper ; lay this on the cloth, 
and mark the outlines of the slipper with white 
thread. Then draw the pattern, enlarging it to the 
required size. 

Draw only one-half of the slipper, and mark the 
other half from it. The parts engraved in white 
horizontal lines, are to be velvet, which is cut out 
in the proper shape, that for each slipper being in 
one entire piece. 

Take a broad paint brush, and wash over the 
back of the velvet lightly with very thin glue ; then lay 
it on the cloth, and tack it, to keep it in its place. 
Lay it, with the velvet side downwards, on a thickly 
folded cloth, and put some books on it as weights, 
until the velvet and cloth adhere. The velvet 
chosen should be of the best description, with a 
very short pile. If at all crushed, a warm iron 
may be held upright, and the back of the cloth 
passed lightly over it. This will raise the pile. The 
edges of the velvet are finished off with two lines of slipper. 

gold thread, between which the fancy cord is laid. They are respectively to 




BEAD WORK. 17 

be sewed over with silk of the same colors, and the ends drawn through the 
cloth. Quilted silk or satin should be used for lining these slippers. 

BEAD WORPI. 

This work is done in tent-stitch, on canvas, of silk or imitation silk. The 
beads must be very carefully adapted to the canvas, that each one may just 
cover the space allotted to it. 

A great number of articles are now ornamented entirely in bead work, such 
as small tables, sofa-cushions, mats, baskets, slippers, screens, &c. The largest 
sized beads, No. 1, are used for tables ; No. 2, for cushions, mats, &c. ; and 
No. 3, for hand-screens, watch-cases, slippers, &c. 

The stitch used is always tent. [See Tent Stitch.] 

The designs for bead work are generalty taken from the Berlin patterns. 
The material used for attaching the beads to the canvas, is a waxed sewing- 
silk, or a fine twisted cotton thread. The last is mostly used by the Germans, 
who greatly excel in all kinds of bead-work, and who apply it to nearly all 
kinds of ornamental articles. They use beads of all kinds, mingling them with 
patterns worked in silk or worsted. 

A great difference exists in the quality of beads, particularly in the gilt and 
steel ones. 

Where colored glass beads are used, it is better to arrange them in separate 
bags, with the color written on the outside of the bag. 

BEAD VASES. 

Bead Vases, which are now so fashionable, are very easily made. Procure a 
wire frame from a wire-worker, of any shape you wish, but the smallest ring is 
at the bottom. White and green beads are a pretty combination, or all green, 
or all white. v The wires are carefully covered with a narrow white ribbon, 
wound round evenly. Then the beads are threaded in any fancy form desired, 
the small round more closely filled than the others. The wires should be about 
the size of one bead, and are covered with the beads, the thread passing round 
so as to leave the bead on the outside. A fringe of any pattern desired, passes 
all round the upper wire, and tassels can be added if desired. They can be sus- 
pended by double strings of beads, the strings uniting at the top ; or by ribbon 
2 



18 



BEAD WORK. 



strings tied at the top, in a handsome bow and ends. A great variety of pat- 
terns can be made. They look extremely pretty filled with flowers, and sus- 
pended from the bottom of a chandelier. 



DESIGN FOR A PENDANT FLOWER-BASKET 




BEAD WORK. 19 

' Pendant flower-baskets have, of late years, become very general ; hung before 
the upper part of a window, they act partly as a blind, and receive plenty of 
light for the growth of the plants. The only novelty, if so it may be termed, 
in this design, is the introduction of glass beads or bugles, which we think, to 
look well, should be white. A few amber-colored ones, introduced in select posi- 
tions, would improve the effect ; these to be strung on wire, to form the basket 
edge of the tray. This tray could be made of wood, zinc, or glass, but the lat- 
ter would be expensive. Fine holes should be perforated all round the edge for 
the insertion of the wire. The beads forming the festoons would be better 
strung on strong twine, as they would hang more free ; the chains from the top 
to be of wire. A brass rod passed through a glass tube, and inserted through the 
centre flower-pot, would support the tray, by having a cross-bar beneath, and a 
nut to screw on, and by this means the weight of the tray and its contents would 
be taken off the chains, which would hang the more gracefully. The centre 
flower-pot could have some delicate climbing plant, which would entwine itself 
around the supporting-rod, while the other pots should contain pendant 
flowers. 

BUGLED PE N-W IPER FOR A TABLE. 

Materials. — 1 reel No. 20 Messrs. Walter Evans & Co.'s Boar's Head 
Cotton ; 3 nails of coarse Penelope canvas ; 3 skeins of violet Berlin wool, 1 
shade of dark, 1 middle tint, and 1 light ; 1 skein of fine white silk ; 1 oz. of 
bugles, which should fit on a cross stitch of the canvas. 

On the canvas, with pencil, draw a circle the same size as in engraving. Cut 
the canvas round full two inches larger. With darkest wool, work, in cross- 
stitch, a line across the centre of canvas to the pencil-mark ; then a line across 
the reverse way, so as to form a cross. (In working this, or any other cross- 
stitch, instead of crossing each stitch separately, work the whole line as if it 
were plain sewing, then turn back, and cross every stitch in the same way.) 
Now take the other two shades, and work on each side these dark lines in the 
same way. With the darkest wool, work, in cross-stitch, on the circle line, not 
going outside the ends of the cross, but keeping on a level with these. Now 
turn down the edge of the canvas close to this line, and stitch it neatly and 
firmly down, and press it on the wrong side with a hot iron ; cut off the super- 



20 



BEAD WORK. 



fluous canvas. With a pen, ink the edge of the canvas which is turned, and may 
show a little white. Now, with* Boar's Head cotton (doubled) sew a bugle on 
each cross-stitch of the canvas, always placing it the same way that the wool- 
stitch is crossed. When finished, gum the back where the bugles are sewed on. 
When dry, line the canvas with black silk. 




HOUR GLASS CANDLE STAND WITH BEAD FRINGE AND TASSELS. 

Many persons experience great inconvenience arising from the candles on 
their dressing-table throwing the light upwards instead of downwards. This of 
course, is not the case where gas is introduced into the chambers, but where it is 
not used these candle stands are very convenient, and can be made very hand- 



/ 



BEAD WORK. 



21 



some, or very plain. The engraving represents one with a heavy bead fringe. 
The foundation is made of two flat rounds of wood, connected together by a 
stem having a groove cut in its exact centre. These rounds are about six inches 




HOUR GLASS CANDLE STAND. 

across, and the stem about eight inches in height. Cover the top first, nailing 



\ 



22 BEAD WORK. 

on the material, which may be satin, silk, brocade, furniture-chintz, or white mar- 
seilles. Then take a piece a little longer than the exact height, and nail it 
carefully round the top and bottom. Ornament it in any way you like ; if bro- 
cade, with a heavy bead fringe — satin, with a silk fringe mixed with beads — silk, 
with a handsome silk fringe alone — or marseilles, with a cotton fringe. The 
centre cord, either of beads or silk, should match the fringe, and be drawn suf- 
ficiently tight to make the hour-glass shape. The bottom piece of wood should 
be heavier than the top. These stands, of a larger size, form very handsome 
tables, either for the parlor or chamber, and can be made very handsome with 
very little cost, by using furniture-chintz for cover. Some persons finish them 
with a gimp round the top and bottom, using a ribbon for the middle. 



BEAD BOOK MARKERS. 

Bead Book Markers are made on perforated card board, the motto and border 
being made of steel, gilt, or colored beads, and afterwards sewed on to a ribbon 
a little wider than the card-board. 



CEBOBBEiaDBSaQBlBnaBaBHBBBaSBaBBBBBBBBBBBBBaBBBaBBBHElBBBaBBBBBBBBBBBBBaBaeiaBHEa 

Lbi !]40Eiaai»aakBisiaiao»iasHiH»iii»iiRiiiieaaaiiioD»B»MaKaBBs»c(!iB < 

csti BBS BsaainaeicaauGBBi ■aaaaiaiajaaaaaaiaBUBeaaaH aaaa aaa aaaaaaoaaao eta . 
bob BBBOuaanaeiiEBaBBBB ■aaaaaaaaaaiaaaiaagasiaaBBa aaa aaa ■■ ■aaaaaaBaaa aaa 

is) >bb a a bb a ■ ■ ei a aa ■ a aa aaa aa aa a ■ ■•« ■ 

M ■ ■■> I 

_ BB B aBB I 

BOB ■ ■ ■ BBB ■■ ■ ■ BB ■■ ■ ■ ■ BB B B ■ ■ BBB BBH BS BB ■ ■ BB B BIB I 

■BBB ■ ■ B ■ B IBBB ■ ■ B ■■■■ ■ B 

aasa a B n a a iiaa aaa obbb a b b a aaa aaa aS •■ a a bb a bj; 



BBB BBB BBB B a B U BB B • B BBBB B II BBB BB BB B BB IB 

□ ua aBiaiBBiaaaBBBaBiaiBaaaiaaaaaaiaaaaBBHEogiiilEiiiii aaa aa aaaaaeaafiBvaaai] 

aaa ■aiiaiBaaiiaiiaiBiBiiiiiiaaauiaBHaaaaiiaiiaiaaaaga aaa JBBB«B«1BBI3 i 

boo aaaaaaaaaaoBBBaaBaaaBaa»aBaBBBBaaaaaBBaBoaaaBsaaBBaBaBBaBaaaBaaBaaaaaaaB i 
■aaBBaBBBaaaBBBBBaBBBBBiBaBBBaiBBiaaaaaaBBaBBiBBBBaBBBiBBBBBBaBaaBaiaBBaaaaaBBBBaaB 



:: .;■:. - ss 

:.:.:!• s .3 

bb aaaa ua a BBB BBB a ■ ami am Ha aaa bbb aaa BB 

■_ BB ■■■■ IBB B B ■ B B 

BB ■ B B B 

bb aa a a i B a ■ 

■_ i hi a i I ■ a a I 



■■ 



■ ■ ■ 

■ ■ ■ 
bbb aa 

■ a 
aaa 
aaa a 

E 



aaa 
a a 
aaaa 



!5£ " a Ba ■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■ ■■ !■ ■■ ■■ ■■ ■■ ■■ ■■ aa aa bb. bb aaa 
BBaaBBBaaBaaaiaamaaBBBaBBBBBBBaBBBaaaaSaBlBBBaaBaaBBBBBBBaaiBBBBBBBaBBBBBaBBBa 

BOOK MARKERS. 



BEAD WORK. 23 

BEAD COLLARS. 

Bead Collars can be made of beads alone, or by sewing them on to lace or 
crape. They are generally made in black or white. Bugles are mostly used, 
and they are apt to cut the silk used in making with their sharp edges, unless 
the precaution is taken to put a small round bead at the end of each bugle. The 
thread or silk should be carefully waxed. 



BEAD HAIR ORNAMENTS. 

Bead Hair Ornaments have been extremely fashionable of late years. There 
are a great variety of forms used, such as an open net enclosing the back hair 
with tassels falling on the neck, or sprays for each side, or rolls of pearl or wax 
beads going round the head. Sometimes they are mixed with chenille cord, 
sometimes with velvet ribbon. They are very elegant. Gold, steel, wax, and 
pearl beads are all used, and black bugles for mourning. 



B E A D-N ETHEA D-D R E S S . 

One of the prettiest and simplest substitutes for the elaborate cap is the light 
network of beads which we have given in our illustration. It is commenced by 
attaching a row of loops of beads to the edge of a narrow ribbon, and adding 
successive loops by taking up the centre bead of each of these, and so continuing 
until the requisite depth is attained. In doing this, it is necessary to leave off 
the end loop of the rows, so as to form the fan shape when the net-work is spread 
out. The hanging circles are formed by threading the beads on hair-wire, and 
closing them neatly after each has been passed through its predecessor, the first 
of all being linked into the lower loop of the net-work. These falling together 
gracefully ^at the back of the head have a very pretty effect. The ribbon on 
which the work has been commenced, is then to be sewn over either a cap-spring 
or wire, and a plait of beads laid over it, which forms the front of the head- 
dress. 

Lamp mats, watch-cases, sofa-pillows, &c, are all ornamented with beads and 
are very beautiful. 



\ 



24 



BEAD WORK. 




BEAD WORK. 



25 



The bead-work of the North American Indians is among the most beautiful. 
The Canadian Indian women sell large quantities to the visitors to the Falls of 
Niagara, and a great deal of it finds its way to our large cities. It is of every 




MAT, IN BEAD WORK AND CROCHET. 



26 BEAD WORK. 

imaginable form, and generally is done on a bright scarlet ground, ■with pure 
white beads. It is very successfully imitated by the lovers of this kind of work. 



MAT IN BEAD WORK AND CROCHET. 

Materials. — Black beads, No. 1, and clear white of the same size, one ounce 
of each ; scarlet wool of three shades, green ditto, and pale amber ; one bunch 
of clear white beads, and two strings of each of four shades of blue. 

The design should be worked from the engraving, Avhere the black beads are 
represented by black squares ; the white, which form the ground, by white squares ; 
the amber, by cross bars ; the green, by diagonal ; and the red, by straight 
lines ; the depth of tint indicating the shade. It will be observed that the out- 
line of the mat is formed by three shades of red, the darkest being outside. The 
canvas should be such as the beads will lie on easily, without the appearance of 
being huddled. 

When completed, it should be tacked down on a bit of thin cardboard, cut out 
in the same shape, but rather larger — say half an inch all round. Then add 
the fringe, sewing it down through both cardboard and canvas. The best 
mounters brush this along the back with thick gum, and so gum it down on an- 
other and thicker piece of cardboard. All mats worked on canvas, with beads 
and wool, should be mounted in this manner. 

The fringe is shaded ; one loop (of the darkest blue or black) is at each cor- 
ner ; then the other shades, in rotation, to the white, which is in the centre. 



INFANTS SHOE, ORNAMENTED WITH BEADS. 

Materials. — A small piece of chamois leather, a little coarse crochet silk, or 
Russian braid, and a small quantity of beads, of various colors, the size usually 
called seed-beads, and a size larger. Also two short white bugles, or large 
beads, and a few gold ones. 

The shoe is cut, in one piece, out of good chamois leather. It is in the form 
of a boot, being about three inches deep. It is sewed up the front to the instep, 
and the toe gathered in ; the back of the heel is also sewed up. A bugle is 
placed at the toe, over the close of the gathers, with a few gold beads forming a 



BEAD WORK. 



27 



star around it. The seam up the front is covered by rows of beads, of various 
bright, strongly-contrasting colors. They are laid on, in the pattern, in the 
following order : — The seam is covered by two rows of blue, these are surrounded 
by clear white, then a round of garnet, the next, bright green, the outer row, 




INFANT S SHOE. 



chalk white. The upper part of the leather, to the depth of an inch, falls over 
round the ancle, giving it additional warmth. It is trimmed with blue beads, 
larger than those on the front. The edges are not hemmed, as the turning over 
of the leather would make them clumsy ; and the seams are made perfectly flat. 
The strings round the ancle are of braid, or of silk twisted into a cord, and 
finished with small tassels. 

A shoe of about three inches and a half long will be found quite sufficiently 
large for the first size. It should be worn with a fine open-worked sock. 

It will be observed by the reader, that this infant's shoe is, in point of fact, 
a small Indian moccasin, imitated from one of those ingenious fabrics, which 
are so often brought under the notice of the ladies who visit Saratoga Springs 
and the Falls of Niagara. The imitation might be very advantageously ex- 
tended to other articles of Indian manufacture, particularly watch cases, card 
boxes, several kinds of mats, &c. Ornamentation with beads, in the Indian style, 
could also be applied to many other articles unknown to the aboriginal artists. 



\ 



28 



BEAD WORK. 



BEAD PURSE, 



This purse can be knit with a mixture of beads and silk, or silk entirely. 
Green silk with gold beads is handsome, or mazarine blue with steel beads, or 
scarlet with -white beads, making the tassels by combining the different colors 
and materials. 




/ 



BEAD WORK. 



29 



POLE-SCREEN, IN GERMAN EMBROIDERY AND BEADS. 

Materials. — Silk, canvas, or perforated card-board, 16 inches by 12. Beads, 
gold-steel, blue-steel, black, white, opal, and gray-blue, (3 shades,) green, (2 
shades.) Gamboge, yellow, shades of green and scarlet wool, and shades of 
lilac and crimson chenille, and 12 graduated pearls. 










The design here represented consists of an elegant basket of flowers, sus- 
pended, as it were, by a double-headed arrow, in a rich scroll frame. 

These flowers are done entirely in chenille, and the foliage in wool, worked in 
tent-stitch. The basket is outlined with gold beads, filled in with the shades of 
blue and the white. The pearls will be observed in the engraving forming the 
lower part of the basket, and beneath them are seen leaves alternately dark and 
light. The dark ones are worked in shades of red wool ; the light in the green 
beads, intermixed with gold. Beneath these, again, are scollops formed of white, 
opal, gray, black, and steel. 



30 BEAD WORK. 

The arrows and cord suspending the basket are done in gold beads, and the 
arrow heads in shades of blue. The entire framework of the scrolls surround- 
ing the basket is in gold beads, the spaces between the outlines being filled with 
scarlet chenille, green wool, white, opal, black, steel, and gold beads. 

BEAD NEEDLE BOOK. 

This little article is simple and useful, and makes a pretty present without any 
great expenditure of time. It may be made of velvet, cloth, or silk, the first 




NEEDLE BOOK. 



BEAD WORK. 31 

of these being very much the most handsome. The color is quite optional, but 
scarlet brings out the ornamental part the most effectually. The bead-work is 
in white, crystal, and gold. The shape of the Needle-book is to be cut in card- 
board, according to our design. The two sides are in one piece, being'only 
folded at the back. The central ornament must first be worked in. The chain 
work which forms the border should be strung before it is fastened down. When 
the cover has been well stretched over the cardboard shape, and the lining put 
in, being neatly sewn all round the edge, a little loop of small gold beads is to 
be added, taking care that these do not project too much. A few leaves of fine 
cloth or cashmere are to be fastened inside with a ribbon, which passes through 
and comes out with a bow in the centre of the back. Ribbon strings to match 
complete the Needle-book. 



RETICULE. 

This pattern is for reticules or bags, and must be worked in very rich colors. 
The ground must be rich, deep blue velvet ; the fretwork gold braid, laid flat ; 
the fleur de lis must be worked in white silk, and the rose in red silk ; the five 
dots in the centre of the rose in gold beads. The size for working is given* in 
the little accompanying engraving. Let the velvet be left one inch larger* eftch. 
way. 




RETICULE. 



32 



BEAD WORK. 



PATTERN FOR RETICULE ENLARGED, 












. 









^^ll^^Ml^j 







One of the handsomest bead bags we have ever seen, is made of very rich 
claret-colored velvet, lined with crimson silk. It is a double bag, uniting at 
the clasp ; one bag about a third shorter than the other. Of course the clasp 
must be a double one, opening on both sides. The bag is oval in shape, and 
trimmed all round the edge, to the depth of about an inch, with alternate rows 
of the very best gold and steel heads. The tassels are gold and steel beads ; one 
at the bottom of each side of the clasp. A claret and crimson cord makes the 
strings. The clasp is very beautifully mingled steel and gold. It is of French 
manufacture, but could be imitated. 



BEAD WORK. 



33 



CANDLESTICK ORNAMENT IN TRANSPARENT BEADS. 




34 BEAD WORK. 

GENERAL DIRECTIONS FOR BEAD WORK, AND THE MATERIALS 

USED. 

In working with beads, you must always thread all you wish to use before com- 
mencing. When you wish to insert a bead, pass one to the last stitch worked 
and fasten it by working the stitch again. To prevent the bead from going on 
to the wrong side, bring the crocheting thread to the front, having it on the fore 
finger of the left hand ; by thus keeping the bead in front, and putting the 
needle from the back or the stitch you are about to work, you can draw the 
thread through the back and make the finishing loop in the common way. 

The bead will then be on the right side. The kind of canvas used is called 
bolting. Take care that your beads all turn the same way. Thick beads and 
transparent ones may be used in the same pattern, but as few shades as possible. 

There are many kinds of beads, some glass and some metal, and of course 
great difference in the quality. The very best are the cheapest, preserving their 
beauty long after ordinary material would have tarnished or broken. In select- 
ing your beads, examine each string carefully and see that there is no inequality 
of size in the same bunch. Each bunch should contain twelve strings of beads, 
and each string should be of equal length. 

In purchasing bugles, see that all in a package are as nearly as possible of one 
length, and that they are not too fine ; if they are, only a bead needle can pene- 
trate, and that will not carry a thread sufficiently strong for their weight. Short 
bugles are mostly used in canvas work. 

NAMES OF BEADS USED. 

The Bohemian, or 0. P. Beads. 

Pound Beads. 

Seed Beads. 

Bugles. 

Fancy Beads, including gold, silver, steel, bronze, and imitation coral. 



BRAIDING. 35 



BRAIDING. 



This is among the simplest of all kinds of fancy work, but it requires great 
care and taste to make it look even and smooth. The pattern used, must be a 
continuous one, as it cannot be pieced to look neatly. The material may be 
silk, worsted, cotton, or gold braid, of any width or color. For children's 
dresses, which are not to be washed, Raised Braiding is much used. This is 
worked by sewing it only on one edge, so that it stands up. It is very hand- 
some, but troublesome to do. 

Cotton Braiding is much liked for children's dresses which are to be washed, and 
even for common collars and under-sleeves. The braid should be chosen thick. 
Fancy Braiding is applied to almost any article for which canvas work is used, 
such as sofa-pillows, slippers, watch-cases, boxes, &c. The ground being gene- 
rally cloth. There are several ways of tracing the pattern. One, which has 
been much used, is, to draw the pattern accurately on tissue paper, the color of 
the ground-work of the article, and then baste it on carefully, and run the pattern 
with cotton the same color. Then tear off all the tissue paper and sew the 
braid over the run lines. Others baste on the drawn pattern, and sew the braid 
on without running it, removing the tissue paper when the pattern is done. 
Another way is to use Pounced Patterns. This is done by marking the pattern, 
first drawn on fine thin paper, with a coarse needle at equal distances. Then 
lay the pattern on the material to be worked, and with the finger rub pumice- 
stone, very finely ground, and mixed with a very little powdered charcoal if 
the material is light, over the perforated lines. When the pattern is removed, 
it will be found nicely marked on the material. For muslin or cambric work, 
the pattern can be again traced with a camel's hair brush and indigo. 

PATTERNS FOR BRAIDING. 

Original patterns for braiding work may be devised, without much difficulty, 
by paying attention to the graceful curves which occur in many natural objjects, 
such as the tendrils of vines, the veins in chalcedony and other minerals, the 
markings on the petals of certain flowers, &c. 



36 



BRAIDING. 



BRAID WOR K — B ABYS SHOE 



Materials. — White cashmere, to be braided with scarlet silk braid. 

Copy the design on tissue paper ; tack the paper pattern on material ; sew on 
the braid by the pattern, then tear away the paper carefully. Line with white 
silk, and bind with narrow scarlet ribbon. 




BABY S SHOE IN BRAID WORK. 



BRAIDING. 
PATTERNS FOR BRAID WORK. 



37 





c^^^fe 



H 



If 

lu 

r 
ir. 




J 



fejL.ft.Jl^ 






88 BRAIDING. 

BRIOCHE CUSHION, BRAIDED ON MERINO. 

Materials. — Four pieces of colored French merino, and one piece of each of 
four colors of braid. 

The quantity of merino required for this cushion is three-eighths of a yard, 
which will cut into four pieces, of the form given in the engraving. As the 




brioche cushion, braided on merino. 

sections of the braid are usually all of different colors, four pieces, each contain- 
ing the quantity named, will make four cushions ; or if two colors only are used, 
two pieces will suffice for two. 

The design given in the engraving is to be enlarged to the necessary size for 
the cushion pricked for pointing, and then the same paper will do to mark every 
section. After using the paper pattern with prepared pounce, remove it, and go 
over the whole design with a solution of flake-white and gum water. 



BRAIDING. 39 

The braiding is to be done in the usual way, the stitches being always taken 
across the thin part of the braid. 

In selecting the merinos, violent contrasts should be avoided. The tints should 
be all either dark or light. Crimsons, greens, dark blue, and claret, go well 
together ; but if light pinks and blues are among the shades, the joining colors 
should be stone, drab, and a warm slate. 

In arranging the braids, the same colors should be selected. Green, dark 
blue, or violet, looks well on orange merino, orange on green or blue, pink on 
stone or gray, dark blue on claret, crimson on green. 

If preferred, eight pieces may be cut to form the round, instead of four, but 
in any case, there should be no strong contrasts, and four different colors are 
quite enough to look well. 

FRENCH FEATHER FAN. 

As the fan is now essential for full dress in most public places, and as it is 
also an article of great elegance, we are happy to be able to introduce a new one 
which has just arrived from Paris. It is not often that the work table can be 
made instrumental for productions which may replace carved ivory, decorative 
painting, gilding, &c, &c; but in this new-fashioned fan a little fancy work does 
all that is required, if we except the purchase of the handle, which we only class 
as coming into the list of the very few indispensable materials. The centre of 
the French Feather Fan is made of white watered silk, braided in gold thread, 
according to our design. It consists of two pieces, back and front, and when 
these are thus prepared, they must be stretched over two pieces of cardboard cut 
to the form with as much neatness and regularity as possible. The front may 
be tacked down with small stitches round the edge, the gold thread being carried 
around to cover them. The back requires a lining, which need not be of the 
silk, as it does not appear to the eye. This can be sewn round the edge, so that 
the tacking threads, which have been put in as for patchwork, may in the same 
way be taken out. A row of small gold beads over this sewing makes an excel- 
lent finish and hides all the stitches. This being done, a row of small Marabeau 
feathers are to be laid all round the back of the fan, their stalks brng fastened 
down to the lining. This requires to be done with regularity, so that their outer 



40 



BRAIDING. 




FRENCH FEATHER FAN. 



BRAIDING. 



41 



margin should possess a perfect sweep. After this, the front of the fan, which 
has already been prepared, must be laid on, which, fitting the back exactly, all 
the stems of the feathers are completely hid and secured. 

The handle, of course, must be purchased, and ought properly to be flat. 

We have said white for this fan, but it is equally elegant in pink or plain 
blue, in which cases the Marabeau feathers must be tipped with either of the colors 
which may be preferred. 

This is the new French Feather Fan ; but as many ladies in the country, and somo 
from abroad, are in possession of many kinds of very beautiful feathers, we suggest 
to them such an appropriation as being both elegant and useful. If not sufficiently 
bushy, two or three rows may be sewn round. In those cases we should also 
advise that the color of the silk should be changed, so as to accord with the tone 
of the feathers if of a dark tone, and we mention violet and a deep rich green 
as eligible substitutes. 

BRAIDING- FOR DRESS OR SKIRT. 




This is a suitable pattern for the bottom of dresses or skirts, and would also look 
well done in braid of two colors, such as crimson and black, on a brown ground, 
or brown and crimson, on a black ground. With both these patterns the edge of 
the material must be hemmed. 



42 



BRAIDING. 
BRAIDED RETICULE, 








mi 



For this reticule, the ground must be a rich deep purple or black, the mate- 



BRAIDING. 



43 



rial, either velvet, satin, or fine cloth. The braiding is in gold braid, of the best 
quality, the roses in deep crimson silk, the leaves in bright green, and the sham- 
rock entirely in dark green. 

BRAIDING FOR A DRESS OR FLANNEL SKIRT. 




This pattern is suitable for merino, cashmere, or cloth, braided either with 
silk or worsted braid, the same color as the dress, or a contrast. On flannel 
skirts it may be done with either kind of braid, but white silk is the handsomest. 




This pattern is also for the bottom of dresses or skirts, but the edge can be 
scolloped with silk or cotton in thick button-hole stitch. 




Here is another pattern which is a little deeper, and suitable for the bottom 
of children's dresses. 




This braiding pattern is very pretty for an apron, on black silk, with colored 
braid ; or plain French cambric, either pink, blue, or straw-color, with fine white 
cotton braid. 



\ 



BRAIDING. 



45 





BRAIDING PATTERN FOR SLIPPER. 



46 



BRAIDING. 
BRAIDING PATTERN FOR SLIPPER, 



This pattern would look well done with a double row of braid, the inside one 
a shade lighter in color than the outside ; or with one row of braid and one of 
chain-stitch, done with coarse silk. On a light slate colored ground it might be 
done with black and silver braid, or on dark green with black and gold. 



SLIPPER PATTERN. 




SLIPPER. 

/ Another slipper pattern, may be done in any colors desired. 



BRAIDING. 



47 



PATTERN FOR DRESS OR APRON, 




This pattern would look well, done with braid of two widths. The centre 
pattern, of wide braid, instead of two rows of narrow. Suitable for dresses or 
aprons. 



LOUNGING OR SMOKING CAPS. No. 1. 

The ground must be either deep green cloth or velvet. The braids must be 
worked in the direction of the lines on the engraving, with gold-braid ; the dots 
must be in gold colored silk, the leaves in rich green silk, and the flowers in crim- 
son silk. The tassel must be a combination of all the colors used in the embroi- 
dery. 



s < 



48 



BRAIDING. 
LOUNGING OR SMOKING CAPS. No. 2. 



This cap must be made of purple velvet or cloth ; the braiding round 
the crown in gold braid, the pattern on the side a pale blue silk, with the ex- 
ception of the flowers and leaves. The flowers must be in red, and the leaves a 
deep green. The tassel must be in gold. The cord round the rim must be a 
twisted cord, of purple and gold. 





LOUNGING CAP, No. 1. 



LOUNGING CAP, No. 2. 



A very handsome piano or table cover could be made of fine crimson cloth 
with applique* of black cloth round the edge, and corners of broad dark green 
braid in palm leaves or any other design, edging the applique' with a correspond- 
ing border. 



SMOKING CAP. 

The material may be either velvet, satin, or cloth, and of any color. The 
braiding may be silk, gold, or silver braid, or in chain-stitch, with saddler's silk. 
Green velvet braided with gold braid, dove color with pink, black with silver, or 
scarlet with black, or purple with green or gold. Four pieces are requisite. 
The edges should be very neatly sewed together, and then trimmed with a large 



BRAIDING. 



49 




IB 



PATTERN FOR PART OF SMOKING CAP. 



■N 






50 BRAIDING. 

cord of the same color as the embroidery. Line the whole cap with quilted silk 
or satin. A band must pass round the whole cap, either plain or braided to cor- 
respond with the pieces. This must also be corded on both edges. A large, 
heavy tassel must be fastened to the point at the top made by the pieces joined 
together. It should be a combination of colors used in the embroidery. 



GENERAL DIRECTIONS FOR B R A I D I N G, A N D THE MATERIALS 

USED. 

In putting on silk braid, it is best to use threads of silk drawn out from the 
braid, and an extra yard or two should be provided for this purpose. Wide 
braid must be sewed down on both edges ; narrow, run through the middle ; 
raised braid is sewed only on one side, but the other side is held up, instead of 
laying flat on the cloth. There was a very pretty braid in use some years ago, called 
Coronation Braid, which was formed into leaves and then adjusted into various 
forms. It seems to be wholly out of use. Colored worsted braids are very much 
used on white material, such as linen, brilliant plaid checks, &c, for children's 
aprons, sacks, and dresses. It is also used on merino and cashmere. Little boys' 
sacks are very handsome braided all over the front in some pattern designed ex- 
pressly for the garment, and braided in the same color as the dress. It also dyes 
well, taking a shade lighter than the material. Silk braid however is much more 
elegant, but is also much more expensive. Of course there are a great many dif- 
ferent braids in use, in silk, worsted, and cotton. The best worsted is Russian. 
Of Silk Braids, there are — Plain Russian Braid. 

Alliance Braid. 

Star Braid. 

Eugenie Braid. 

Sardinian Braid. 

Albert Braid, or Cord. 
Of Cotton Braids, there are — French White Cotton. 

Russia Cotton. 

Waved Braid. 

Eugenie Tape. 



BRAIDING. 51 

Linen Braids. 

Worsted Braids. 

Mohair Braids. 

Linen braid is not desirable for braiding, it is so thin. It is only suitable for 
imitation lace. 

Gold and silver braid is much used for ornamental articles, and for slippers. 
The French is the best in quality. It can be had of any width. 

In English books on needle-work, the term " Soutache," which properly 
means Braid, is applied to all kinds of fancy braids of every kind and color. 

The waved cotton braid is very pretty on children's dresses and easily put on. 
It looks well on plain French chintz. Little boys' summer overcoats of jean or 
gingham, with a large cape, look very pretty braided in white braid. 

In braiding, great care must be taken to make the points neatly, and a stitch 
should be put across to keep them in place, under the braid, and curves should 
be very carefully adjusted. If the braid used is of two colors, one side different 
from the other, the points must be made without turning. Broad braids must, 
of course, be mitred at the corners. 

In using worsted braid, hold it rather loosely, for it will shrink in washing. 
Use wool of the same color for putting it on. 

There is a kind of braiding done with beads. It is troublesome to do, and 
requires care to prevent the beads from looking confused. It can be done on 
the same lines as are marked for any kind of braiding. The beads, of course, are 
strung on silk. Leave the needle at the end of the silk, after you have secured 
your silk by a knot, on the wrong side of your cloth, and passed it through to 
the right side at the beginning of the pattern. On this, string your beads, which 
must be fastened down at regular intervals, by a stitch taken across the silk, 
between the beads ; say, between every two or every three. 

When this bead braiding is done with gold beads, an edge of gold braid adds 
very much to the effect. In the velvet bag mentioned under bead work, the 
strings of beads are alternate gold and steel, about eight rows in all. Of 
course they must be of the best quality. 

In using cotton braiding on muslin or lace, there must be an edge worked in 
button-hole-stitch, or if hemmed a very narrow edging sewed on. 







52 BUTTON-HOLE STITCH, AND BOBBIN WORK. 



BUTTON-HOLE STITCHES. 

Button-hole. — Button-holes should be cut by a thread, and their length should 
be that of the diameter of the button. In working, the button-hole 
is to lie lengthwise upon the forefinger ; and you begin at the side 
which is opposite to the thumb, and the furthest from the point 
of the finger on which it is laid. The needle must go in on the 
wrong side and to be brought out on the right, five threads 
down. To make the stitch, the needle is passed through the loop before it is 
tightened or drawn closely. Care must be taken in turning the corners, not to 
do it too near ; and, in order that a proper thickness may be obtained, it is ne- 
cessary that the needle should go in between every two threads. Making but- 
ton-holes requires great care and attention. 

The button-hole scissors which are regulated by a screw, are much the safest 
for cutting button-holes, as, when once set to the required size, they cannot vary. 

Fancy Button-hole Stitch. — This resembles a very wide 
button-hole stitch, and is very neat for the front of bodies, like- 
wise for the bands and shoulder bits, and above the broad hems 
and tucks of frocks. 




BOBBIN WORK. 



This is mostly used for infant's dresses, on cambric, fancy muslins, and such 
other materials as are used for first robes ; on cashmere, merino, and cloth, the 
material used is generally the coarse silk, called saddler's silk. 



BRODERIE ANGLAISE. 



53 



BRODERIE ANGLAISE. 

Broderie Anglaise is the name given to the heavy open work which has of 
late been so fashionable. It is the simplest of ornamental work, requiring no fancy 
stitches whatever, the whole of the pattern being sewed over, except the extreme 
edge, which is worked in button-hole stitch. 

The best material for its use for sleeves and collars, is French muslin. It is 
thicker and closer than jaconet, almost approaching very fine long-cloth in its 
texture. The design for working is generally a very simple one, and formed 
by a succession of graduated holes, which are not, however, cut out until they 
are worked. The small ones are formed by piercing them with a stiletto ; the 
large ones have a small bit of muslin cut out of the centre with fine scissors. 
In oblong holes, a piece of corresponding shape should be cut out. The needle 
is slipped from one hole to another, on the wrong side, and in doing this, take 

SPECIMENS OF PATTERNS SUITABLE FOR BRODERIE ANGLAISE. 




EDGING FOR SKIRT. 



54 



BRODERIE ANULAISE. 



care to begin sewing round a hole, the side nearest the following, not the preced- 
ing one, to prevent the thread from being visible. The edge is run in outline 
before being covered with button-hole stitch ; the scollops sometimes are 
graduated. 

Indigo blue is generally used for tracing the pattern on white material, but 
they can be stamped by applying at the embroidery or trimming stores. Many 
persons cannot trace a pattern neatly, and to them it is a great convenience to 
have it properly done. 




FLOUNCING. 

o o 



BRODERIE ANGLAISE. 



55 




EDGING FOR SKIRT. 




PATTERN FOR FLOUNCING. 



> 



56 



BRODERIE ANGLAISE. 




EMBROIDERY FOR SKIRT, IN BRODERIE AND SATIN STITCH. 

§ 4 §A§A§A§ 



EDGING. 




EDGING. 



BRODERIE ANGLAISE. 



57 




FLOUNCING. 



®&>j&£>£]$!t®i 




EDGING. 



°MJ°AM 



EDGING. 



58 



BRODERIE ANGLAISE. 




ELEGANT PATTERN FOR SKIRT IN BRODERIE AND SATIN STITCH. 




EDGING. 



BRODERIE ANGLAISE. 



59 




. . . H 

OOCX)OOOOOOOCX)0000000000 



V 



SKTRT OF A ROBE IN BRODERIE AND SATIN STITCH. 



#% 




FLOUNCING. 



60 



BRODERIE ANGLAISE. 



°cp£o0ofo o 

o 
o 

^J o 

%>ooo52#^o 





UNDERSLEEVES IN BRODERIE ANGLAISE. 



MsMg&toMsm 



EDGING. 




EDGING. 



BRODERIE EN LACET. 61 

BRODERIE EN LACET. 

Broderie en lacet signifies a design outlined as if merely for braiding, but 
yrith the flowers and other parts filled in with point lace stitches, so as to make 
a solid piece of embroidering on the silk. For no article is this novel style of 
work more suitable than for aprons, which it renders exceedingly ornamental, at 
a very small expenditure of time and trouble, the very simplest of the point lace 
stitches only being used in this work. Of course the size of our page precludes 
our giving even the half of the apron the full size. The design must be en- 
larged according to the size required, the pattern procured, and the silk marked 
in the same way as ordinary braiding or embroidery. 

Braiding should always be done with a strand of the silk of which the braid 
is made. Before beginning, cut off a yard of the braid and draw out the threads 
for sewing with. Thread the end of the braid on a large darning needle, and 
draw it through the silk to the wrong side for the commencement, and do the 
same at every necessary break, sewing the ends down. Run the braid on very 
smoothly, taking the stitches across it slanting, and not along the centre, as is 
usually done. The braid should lie perfectly flat, and the edges be smooth and 
even. 

APRON IN BRODERIE EN LACET. 

Materials. — Seven-eighths of a yard of wide black glace' silk, two knots of 
cerise Russia silk braid, one knot of pale vert-islay ditto, and a dozen skeins of 
sewing-silk to match each braid. 

The knots at the side, suspending the wreath, are clone in the green braid, 
the two parallel lines of which are connected by close herring-bone stitch, or 
point d'Alenc,on, as it is called in lace work. All the fancy stitches are done 
with the common sewing-silk, not with the strands of the braid. The leaves 
need have merely the veinings worked in Venetian bars ; those, however, who do 
not mind the trouble, will do well to fill them first with Brussels lace, and work 
the fibres over that ; the improved effect will quite repay the extra work. The 
roses are filled up closely, in the Brussels and Venetian lace, the narrow parts 
being connected with English bars. The lower part of each bud has a rosette 
in it, the remainder is filled with Venetian lace. 



62 



BRODERIE EN LACET. 



> 




.APRON IN BRODERIE EN LACET. 



BERLIN, OR CANVAS WORK. 63 



BRODERIE A LA MINUTE. 



A recent style of work, done in small dots. If coarse cotton is used, one dot 
will be formed by each stitch. The dots look prettier if finer cotton is used, 
and if they are raised underneath. 



BERLIN, OR CANVAS WORK 



The materials for canvas are, silk, cotton, thread, and woollen ; these are styled 
coarse or fine, according as they contain a greater or less number of threads 
within a given space ; the threads of the coarser kind being stouter. Canvas is 
also distinguished by a number, corresponding to its size, such as twenty, and 
twelve, canvas ; these distinctions are, however, arbitrary, and vary according 
to manufactures of each country. 

The finest canvas, of either material, is distinguished under the general appel- 
lation of "Mosaic." 

SILK CANVAS. 

Silk canvas, more commonly called Berlin canvas, is generally used as a sub- 
stitute for grounding ; it is well adapted for flower, vignette, gem, and all kinds 
of set patterns, and also for articles of furniture, but is not so strong as the 
grounded work for the latter purpose ; but for many articles, such as screens, 
&c, it may be used with great saving of time and labor. It can be had of 
almost any desired color ; but white, black, and claret, are most generally used. 
Working on this canvas requires greater neatness in finishing off the stitches at 
the back, than work intended to be grounded ; the wools and silks must not be 
carried across from one part to another beneath, but cut off as closely as possi- 
ble, otherwise when mounted, they would show through the meshes of the 
canvas. 

Berlin canvas is expensive, and therefore imitated by an inferior manufacture, 
and it requires care to select ; the best being clear and free from knots, and 



64 BERLIN, OR CANVAS WORK. 

firm and even in its texture. It also varies in width, from an inch to a yard 
and a half, but there is not so great a variety in this respect, as in other de- 
scriptions of canvas ; four sizes, in general, are manufactured, which are num- 
bered about 21, 29, 34, and 40 threads to the inch. 



COTTON CANVAS. 

Cotton canvas is made of all qualities, sizes, and widths. There are English, 
French, and German canvas. The French is superior, not only on account of 
firmness, but also from the great regularity and clearness of its threads, and the 
squareness of the meshes — an object of great importance, as many patterns would 
be distorted and ruined by being lengthened one way, and diminished an- 
other. 

German cotton canvas, although of an inferior description, is as well adapted 
for many purposes, as the French, and costs much less, and it is generally made 
with every tenth thread yellow, which many persons consider a great assistance 
in counting stitches : it can be procured of all sizes and widths, and both stiff- 
ened and limp ; but in texture, it is not so strong as either the English or 
French canvas. It should not be used with light or white grounds, as the yel- 
low thread will show ; nor where much tension is necessary to be used. 

THREAD CANVAS. 

This is manufactured from hemp, and is not used except for rugs, carpets, &c. 
It is of all the usual sizes and widths. There is also a fine canvas made from 
flax, but it is not common. 

PENELOPE CANVAS. 

Penelope canvas, so called from its having the appearance of canvas from 
which the work has been unpicked, is much used ; it is considered by many as 
possessing advantages over others, as each four threads is ready for the needle ; 
some think it very trying to the eye-sight. It is most suitable for very fine 
cross-stitch. 



BERLIN, OR CANVAS WORK. 65 

FLATTENED CANVAS. 

This is so called, from its having passed through the rollers of a flattening 
machine. It is much used in France, and has the advantage of allowing pat- 
terns to be drawn on it with more facility than on the other kinds,, where the 
custom is still adhered to of tracing the pattern. The work, when finished, is 
not so rich looking as that done on the canvas with round threads. The pat- 
terns drawn on the canvas can be obtained from some French houses, but they 
are not very common. 

WOOLLEN CANVAS. 

Woollen canvas is of German manufacture, and used when grounding is not to 
be done ; but it is not so rich in appearance as grounded work. The usual colors 
and widths can be procured. 

BOLTING. 

Bolting is a very fine woollen canvas, manufactured principally in England, 
but not much used. It was formerly much in demand for children's samplers,, 
and generally very narrow. 

IMPLEMENTS USED IN BERLIN, OR CANVAS WORK. 

NEEDLES 

Tapestry needles are blunt at the point, with a long oval eye ; they are of 
various sizes : the most in use being from fourteen to twenty-five, and they are 
applicable for all kinds of canvas work. They are manufactured of the finest 
steel, and are sometimes made of gold or silver for very warm climates. The 
same kind of needle with a sharp point is used for Chenille embroidery, and for 
working on cloth through canvas. 

EMBROIDERY FRAMES. 

The usual frame is the flat or four piece frame, composed of two bars, to which 
the webbing is attached, and two side laths, with holes pierced at regular dis- 
tances for receiving the pegs to keep the bars in their right position. They are 
made of various sizes, from four inches to three yards in length. For small 
5 \ 



6Q BERLIN, OR CANVAS WORK. 

pieces of work they can be used in the hand, and for large pieces they can be 
made to rest on a table or on trestles. Large frames are most used for work- 
ing satin or velvet, as it does not answer to roll these materials. This description 
of frame is not expensive, being made of common mahogany, cedar, or beech. 

The knee, or table, frame has a flat piece of wood forming the stand, whereon 
two upright pieces are fixed to support the frame, which can be adjusted at any 
angle required, by means of thumb-screws attached to the joints. These frames 
are generally made from eight to twenty-seven inches in the webbing ; they are 
adapted for work of all kinds, within these limits, and of any length which will 
not be injured by rolling round the bars. 

The standing frame consists of two upright pieces with feet placed on the 
ground, connected by a cross bar, or stretcher ; these support the frame, which 
is fixed on the top in the same manner as that already described. They vary in 
size from twenty inches to a yard and a quarter. Frames of this kind are some- 
times made with toothed wheels and other contrivances for rolling and unrolling 




EMBROIDERY FRAME. 

the work without taking it out ; but they are apt to get out of order, and are 
more clumsy and less suitable for ladies, than those of a more simple construc- 
tion. Both standing and table frames are frequently made of the finest and 
most expensive woods, when they may be rendered most elegant pieces of furni- 
ture. The upright frames have baskets sometimes attached at either side. 



BERLIN, OR CANVAS WORK. 67 

Embroidery frames require to be well made, that when screwed together they 
may be perfectly firm and square. When of a moderate size, those in which 
the side-laths or cross bars are formed into screws are preferable, as they can 
be more readily, and with greater precision, adjusted to the required width by 
means of the nuts. The greatest essential in a good frame is, that the cross- 
bars, as well as the rollers on which the webbing is fixed, should be sufficiently 
stout to prevent its twisting or bending when the work is tightly stretched upon it. 

POINT PAPER OR CHECKED PAPER. 

This is covered with regular lines both diagonally and horizontally. The 
sheets are generally foolscap size. The sizes of the squares vary very much, 
some being four times as large as others. It is of great use to those who do 
much fancy-work, as from a magazine pattern it is almost impossible to work, the 
lines are so fine. The pattern can be copied on point paper of any size desired. 

TO DRESS A FRAME FOR CROSS STITCH. 

The canvas must be hemmed neatly round ; then count your threads, and place 
the centre one exactly in the middle of the frame. The canvas must be drawn 
as tight as the screws or pegs will permit, and if too long, should be wrapped 
round the poles with tissue paper, to keep it from dust, and the friction of the 
arms, as that is essential to the beauty of the work. It must in all cases be 
rolled under, or it will occasion much trouble in the working. When placed 
quite even in the frame, secure by fine twine passed over the stretchers and 
through the canvas very closely; both sides must be tightened gradually, or it 
will draw to one side, and the work will be spoiled. 

- TO DRESS A FRAME FOR CLOTH WORK. 

Stretch your cloth in the frame as tight as possible, the right side uppermost. 

The canvas on which you intend to work must be of a size to correspond 
with the pattern, and must be placed exactly in the centre of the cloth to which 
it is to be secured, as smooth as possible. When the work is finished, the can- 
vas must be cut, and the threads drawn out, first one way and then the other. 



68 * BERLIN, OR CANVAS WORK. 

It is necessary to be especially careful in working, not to split the threads, as 
that would prevent them drawing, and spoil the appearance of the work. In all 
cases, it is advisable to place the cloth so that the nap may go downwards. In 
working bouquets of flowers this rule is indispensable. The patterns for cloth 
work should be light and open. It looks well for sofas, arm-chairs, &c, but is 
by no means so durable as work done with wool entirely on canvas. 

TO DRESS A FRAME FOR TENT STITCH. 

Prepare the frame and canvas as for cross stitch, only not quite even, but in- 
clining the contrary way to the slant of your stitch. This is necessary, as tent 
stitch always twists a little ; but when taken out of the frame, the work will ap- 
pear tolerably straight. Should it, after all, be crooked, it should be nailed at 
the edges to a square board, and the work may then be pulled even by the 
threads, so as to become perfectly straight. The back of the work should then 
be slightly brushed over with isinglass water, taking care not to let the liquid 
come through to the right side. A sheet of paper must be placed between the 
work and the board, and when nearly dry, another must be laid upon it, and the 
whole ironed with a warm iron, not too hot, or the brilliancy of the work will 
be destroyed. 

COLORS. 

An attention to shades is of the utmost consequence, as on this, in an eminent 
degree, depends the perfection of the work. The shades must be so chosen 
as to blend into each other, or all harmony of coloring will be destroyed. The 
colors must be more distinct in tent than in cross stitch, or rather, more 
strongly contrasted, especially in the dark shades of flowers; without attention 
to this point, a good resemblance of nature cannot be obtained. 

STITCHES FOR BERLIN, OR CANVAS WORK. 

Five stitches are generally employed for canvas work : Tent-stitch, Cross- 
stitch, Gobelin or tapestry stitch, Irish stitch, and German stitch. All the 
others are but modifications of these. The commencement of all stitches should 
be by bringing the needle up from beneath, on the right, and passing it down 



BERLIN, OR CANVAS WORK. 



69 



on the left, excepting in cross-stitch, when it should be by bringing it up on the 
left, and passing it down on the right, then up again on the right, and down on 
the left, to finish the stitch. 



TENT-STITCH. 

In tent-stitch, the needle is brought up from the right, 
and passed down on the left, commencing at the bottom of 
the work, in the left hand corner. The wool or silk should cover the threads 
of the canvas, either single, double, or treble, as the canvas requires. When 
grounding in this stitch, great care is necessary to keep it smooth and even. 
Nearly all Berlin patterns are intended for tent-stitch ; the checks on the pat- 
tern corresponding with the squares on the canvas, excepting designs where 
faces and hands are introduced ; these must be worked in cross, or Gobelin 
stitch. 

Grounding in tent-stitch is more easily worked in straight rows from left to 
right, and from right to left, alternately, than in diagonal lines, if care be taken to 
reverse the stitch in each row. When neatly done, the back of the work is uni- 
form. Knots should be avoided. Draw the wool through, at a little distance 
from the exact spot, and cover it with the necessary stitches. Use the needle- 
fulls of different lengths. 



CROSS-STITCH, 



11111 



Cross-stitch is worked over two threads, in a diagonal 
direction, each way. It is a double stitch, and made, first, 
by bringing the needle up on the left, and putting it down on the right, which 
forms half the stitch ; it is then crossed, by bringing the needle up again on the 
right, and passing it down on the left. Each stitch looks better to be wholly 
finished before proceeding to another stitch. Cross-stitch on one thread is much 
admired, but it is not calculated for a canvas finer than twenty threads to the 
inch ; coarser than that, all sizes are equally suitable. Cross-stitch on one thread 



. 



70 



BERLIN, OR CANVAS WORK. 



appears finer than cross-stitch, when worked the same size, on two threads ; it is 
more raised, and where it is fine greatly adds to the facility of working on a 
comparatively coarse canvas. When the human figure is worked in cross-stitch, 
the face and hands should be executed in the same ; but Berlin patterns, having 
these parts drawn on a smaller scale, must thus be copied, unless we attempt the 
very difficult task of alteration. This, however, may be a matter of taste, as 
designs thus worked are, by many persons, greatly admired ; nevertheless, it is 
in bad taste to sink these portions of the picture, by making four stitches in the 
place of one. 




GOBELIN, OR TAPESTRY-STITCH. 

This stitch is worked over two threads of the canvas in 
height, and one in breadth ; but when Berlin patterns are 
copied, two stitches in width must be made for each square of 
the design, which bear exactly the same proportion as one, 
either of tent or cross-stitch. On coarse canvas, Gobelin 
stitch is decidedly inferior to either tent or cross-stitch. Its effect is best on 
fine canvas, where it has the advantage over cross-stitch, of a closer appearance 
of shading. Figures, flowers, and every kind of patterns may be worked in 
Gobelin-stitch, but it is certainly more suitable for patterns drawn on the can- 
vas, than from count ivork. Either tapestry or cross-stitch may be mixed with 
gold braid on canvas, to produce a very rich brocaded appearance. The gold 
braid should be cut in the requisite lengths, and fastened to the canvas at each 
end, and a Berlin pattern of plain damask taken for the design. The ground is 
to be worked either in cross or tapestry-stitch over the braid, in one rich color, 
leaving the damask part of the pattern in the gold. Blue, brown, or maroon, 
form pretty contrasts ; and, for wedding presents, white and gold. Gobelin 
or tapestry-stitch to look well should be worked on a fine canvas ; with single 
wool, on a very fine canvas, it is beautiful. In Gobelin stitch, the colors should 
be chosen as close as possible, but bright lights and dark shades may be intro- 
duced. Silk should be used only when the work is very fine. 



BERLIN, OR CANVAS WORK. 



71 



IRISH STITCH. 

For grounding, Irish stitch may frequently be used in the 
place of tent or cross-stitch, as it takes much less time in 
its execution. It is the best stitch for chenille work on can- 
vas ; and scrolls and flowers may be prettily worked in it. 
The engraving shows the stitch. 




GERMAN STITCH 



This stitch is only used for grounding, as it is very rap- 
idly done. Patterns in cross-stitch look very pretty grounded 
in German stitch. The engraving shows how the stitch 
is done. 




WOOLS AND SILKS USED IN CANVAS WORK. 



GERMAN WOOL OR ZEPHYR MERINO. 

This is adapted for working all kinds of Berlin patterns, and is of various 
sizes. When very fine, it is called Split Zephyr. It is commonly knotted in 
small skeins, making it very convenient, and the varieties of shades and colors are 
almost innumerable. It can be used doubled or trebled on very coarse canvas 
It requires skill and attention in selecting. When the quality is good, it is soft 
und curly in its texture, and r,ound in its form, and comparatively free from the 
smell of the. dye. When using this wool, it is better not to wind it, as it deprives 
it of its elasticity. In selecting the wools for working, great care and taste are 
required to blend the colors harmoniously, avoiding gaudiness, and yet making 
contrasts. Some patterns are very pretty in design, and yet the coloring is very 
bad. Of course the arrangement, when altered from the printed patterns, must be 
left to the taste of the worker. 



72 BERLIN, OR CANVAS WORK. 

ENGLISH WOOL. 

This is sometimes used with German wool in the same piece of work. In 
large articles particularly, some of the shades are quite equal to the German, 
the scarlet, some shades of blue, green, gold, browns, clarets, and neutral tints. 
For grounding, English wool is preferable to the German. It is stronger and 
less apt to soil. 



WORSTED. 

This was formerly much used for embroidery, but not at the present time. 
Its advantages are, that it takes a fine dye and has a brilliant glossy appearance 
in large articles, such as carpets and rugs. It is much cheaper than wool. 
Hamburg wool, or German worsted, is a common kind of wool usually containing 
four threads, but can be had as thick as twelve threads. It is very good in color, 
and very suitable for coarse canvas. There is an English imitation of this wool 
which is not desirable. 

The " Ornd Balls" are used for embroidery on canvas as well as for crochet. 
It is used in what is called fluted embroidery. 



SILKS USED FOR CANVAS WORK. 

Mitorse, or half-twisted silk, is much used for all kinds of embroidery, and is 
less likely to become rough in wearing than the floss silk. It can be introduced 
with good effect in some parts of wool embroidery, for small articles. 

The Dacca silk should always be used for copying Berlin patterns in silk, or 
for very fine canvas. The varieties of colors are almost equal to those of German 
wool. It may be used mixed in with wools or fine canvas, and will bear dividing. 
It is usually done up in knotted skeins. 

Floss silk is a thicker description of silk used for tapestry-work or for gem 
patterns, when silk is required to brighten up the effect of the wool. It can be 
employed for grounding in canvas work Avith beautiful effect. It can be procured 
of various sizes. 



BERLIN, OR CANVAS WORK. 



73 




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TRAVELING BAG. 



74 BERLIN, OR CANVAS WORK. 

Filorelle is not a pure silk, but is glossy and beautiful, and can be used to ad- 
vantage in the coarse kinds of Berlin work. It requires care in the selection, 
some being very brilliant, others having a look like cotton. 

Gold and Silver Thread, called "Passing," is a smooth thread of uniform 
size. It is the finest material of this kind manufactured. It is used in the same 
way as silk, being mixed with it or with wool. 

Gold Cord is much used mixed with wool in some kinds of canvas work, and 
sometimes with beautiful effect, when used as a grounding, of course only for 
very small articles of luxury. 



SPECIMENS OF BERLIN, OR CANVAS WORK. 
TRAVELING BAG. 

Materials. — Very coarse canvas, three shades of crimson 8-thread Berlin 
wool, and black ditto ; also a frame on which to mount it. The design of this 
bag consists of pillars entwined with scrolls, on a black ground. All the squares 
which are dark in the engraving are to be so in the work. The light squares in- 
dicate the lightest shades ; the pattern may therefore be worked without trou- 
ble. The frames on which these bags are mounted may readily be procured. 
The upper part and the handles are of leather ; the sides of stout calico, pro- 
perly lined. In mounting it is requisite to remove the handles. 



THE TURKISH BAG. 

Materials. — Coarse Penelope canvas, and 2 oz. each of Turkey red, blue, and 
black 8-thread Berlin wool. 

With the black wool, work in ordinary cross stitch a stripe three stitches wide 
up the edge of the bag, and another fifteen stitches distant from it. Do as 
many of these black stripes as the width of the bag will allow, each one being 
fifteen stitches from the last, and three stitches wide. Now work the cross-bars 
on the second of these lines, by working nine stitches in length on each side of 
the bar, parallel with the 9th, 10th, and lltlr stitches from the bottom, and at 



BERLIN, OR CANVAS WORK. 75 

the end of each add a piece which will give it the form of the letter T, carrying 
the nine stitches to twelve in length, and five more above and below it in height. 
Thus each T comes within three stitches of the bar of black nearest to it. 
A similar one is placed above this, with nineteen stitches missed between the 
two bars, and nine stitches between the ends of the Ts. 




LADY'S TURKISH BAG. 

In the next line the cross-bar comes precisely between every two of the for- 
mer, so that a space of three stitches is between the new bar and the part which 
appears to form the top of the T. Of course, at the edges, the bar can be car- 
ried on one side only. 

The stripes are then filled in alternately with red and blue, the entire design 
being worked in black. 

When these bags are not very large, it is quite as well to make them up at 
home, as to give them out to be made. They should be lined with tick, within 
which silk or sarsenet may be placed ; but for a bag used in pic-nics, and such 
matters, nothing is nicer than green oil-cloth, merely tacked in so as to be readily 
removed and cleaned. 



'6 



BERLIN, OR CANVAS WORK. 



The edges should be finished with a cord to correspond with the bag, and the 
same will serve for handles. To make the top stiff, a whalebone may be run 
in each. 




LADY S BERLIN TRAVELING BAG. 



The lady's Berlin traveling bag may be done in the same stitch, and with 
the same colors, arranging the pattern according to the design given. 



SOFA PILLOW IN FLUTED OR RIBBED BERLIN EMBROIDERY. 

Materials. — One ball of One' wool, with commenced canvas, No. 1 ; one ball 
of Orn(» fringe wool ; one-half ounce shaded amber Berlin wool; two skeins of 
claret ; three-quarters yard of black cotton velvet. No. 2 Penelope hook. 



? 



BERLIN, OR CANVAS WORK. 



77 



This design is new, elegant, and useful, inasmuch as it can be turned or fre- 
quently washed, both sides being alike ; is easily worked, and requires but little 
attention. The method of working, is by sewing with the Orne" wool over cord 
through the canvas, which is prepared and spaced for #ie express purpose. 




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mm 

SOFA PILLOW IN FLUTED OR RIBBED BERLIN EMBROIDERY. 



The Orae* wool is knotted at equal lengths, and each length must be united and 
worked up into one row. In the pattern finish the row, turn over the canvas, 
and fix a cord,* thread a length of wool, and find the centre by laying the two 



78 



BERLIN, OR CANVAS WORK. 



ends together. Begin in the centre of canvas with the middle of the wool, and 
work regularly to the right, till the outside colored thread in the canvas is 
reached; now thread the remaining length of wool, and work it up in a similar 
manner. W 

For the next row, turn over the canvas, fix a cord, and repeat from*. To 
make the piece larger, either for a cushion or chair tidy, take three-quarters of 
a yard of black cotton velvet, cut it into four strips lengthwise ; measure a square 
of the width of strip, cut it across ; commence to sew on the velvet from this, 
and cut the other end the same. Repeat round the four sides in the same man- 
ner, then join up the ends. If a cushion is required, four and a half pounds 
of feathers are necessary, and two squares of calico, which should first be made 
into a bag a little less than the work ; then, before putting in the feathers turn 
inside out, and well wax with a lump of yellow beeswax, this is to prevent the 
feathers coming through ; line with black velvet or watered silk at the back. 




FRINGE. 



For the FRINGE. — With claret wool and hook, make a chain half a yard 
longer than the size of cushion, into this chain work a row of long stitches ; this 
forms a heading. Take the Orne* fringe wool ; cut it into lengths at every white 
mark, double it and lay on the table in rotation as each length is cut, till to the 
long white space ; this cut out as of no use. Take the heading, with the wrong 
side in front, and the claret row on the top ; place the hook between the first two 



BERLIN, OR CANVAS WORK. 



79 



long stitches, and make a double crochet stitch, pulling the two ends through ; 
when a sufficiency is made, sew on to the velvet within an inch of the work. 
This fringe can be sewed on before the cushion is made up. 



NOTE CASE, 



It is worked in two pieces, the dark part being leather, and the light, fine 
canvas. It will look well if the leather is a rich deep brown, the work upon it 
in green, the leaves in satin-stitch, the stem and tendrils in chain-stitch. The 
centre is worked in the usual way, upon very fine canvas, leaving the ground plain 




NOTE CASE. 



canvas ; the flowers in very bright silk, the initials in gold. The case-maker, in 
mounting, will put the outer and inner lines in gold. The leather must be left 



80 



BERLIN, OR CANVAS WORK. 



rather larger than the engraving, and the two sides of each in one piece. The case 
will look very well if the dark part is made of velvet, and the white, in satin > 
and it is then a very appropriate wedding present. 



PORTE MONNAIE 



The porte monnaie is worked same as note case. The white dots in centre of 
flowers must be gold beads ; the flowers in bright blue silk, the leaves in yellow 
green, and the stems in dark green silk. 




PORTE MONNAIE. 
OTTOMAN IN ORNii; FLUTED EMBROIDERY. 

Materials. — One ball of One* wool No. 4, with commenced canvas. An 
inverted box may be converted into an Ottoman, or one may be made for little 
expense. The OrnS wool may be obtained through any Berlin shop. Each 
row is begun in the centre of the length of wool, worked from right to left. The 
knot determines each row, and the pink ends of each length of wool must be 



? 



BERLIN, OR CANVAS WORK. 



81 



kept on one side. When one row is completed, turn over and work the next. 
This fluted embroidery is one of the richest kinds of work seen in modern 
days ; it is worked without any effort to remember stitches, and may be taken 
up at any time, conversation or amusement being no bar to its production ; both 
sides of the work are alike ; the colors are extremely brilliant and richly con- 
trasted, and, in the pattern given, the ground color is of the brightest eme- 
rald green, the fringe, as nearly as possible, of the same tint, and the whole, 
when mounted, makes an exquisite article of furniture. 



^ 



, . 




OTTOMAN IN ORNE" FLUTED EMBROIDERY. 
CARRIAGE CUSHION. 

Materials. — Coarse Penelope canvas. Berlin wool of any color that may 
be at hand, but four shades of each ; cord, and a pair of tassels. 

The length of canvas required for one of these cushions, is a square of about 
twenty-two inches. It is worked in stripes of four or five different colors, and 
6 



\ 



82 



BERLIN. OR CANVAS WORK. 



is particularly useful, as it works up remnants of wool which may be lying by. 
It is also one of those simple patterns which require only that the threads should 
be counted ; and it is, therefore, particularly suitable for those whose eyes are 
not good, or for beginners. 

Observe, that in speaking of a stitch in Penelope canvas, we mean a square, 
or two threads each way. 

With the darkest wool of any color, do the first row thus : — Make a knot in 
the wool, and bring out the needle as near the left hand corner, lower side, as 
you can ; miss three stitches in length, and five in depth, and slip the needle 
under the two threads of the third, towards the left ; then up again, to the line 
in which your needle was first inserted, and slip it under two threads of the fifth 
from it ; then to the lower line, and take up the two threads of the fourth from 




CARRIAGE CUSHION. 

the last of that line ; then to the upper line again, the two threads of the fourth 
from the last; repeat in this way between the two crosses, for the entire 
length of the line. Then, with the same shade, bring out the needle in the same 
hole as at first, and work another line precisely the same, only upwards instead 
of downwards, so that the lowest stitch of this row is taken under the same two 
threads as the upper of the last. The next shade is worked in the same way. 
Draw out the needle two threads below the first, and slip it under two threads (that 
is, the stitch) in front of it through the length. In the second row, bring out 
the thread a stitch above it, and work in the same way. The third shade is 



BERLIN, OR CANVAS WORK. 83 

worked in the same way as regards the second, as that is to the first ; and 
the fourth shade, worked precisely the same way, will fill up the space. Every 
stripe is done in the same way. 

GERMAN KNITTING BAG. 

It is a custom with the German ladies always to have their knitting close at 
hand, and to this end, they use a suitable bag, or satchel, to contain their knit- 
ting materials. We supply one now much in use on the Continent. It is soft 
and flexible, being made up without the introduction of any stiff material, and 
so the more readily adapting itself to the increasing dimensions of the work in 
its daily progress. 

Our design exhibits this Knitting Bag in its perfected form. It is worked on 
rather fine canvas. The squares have an outline of gold beads, (not cut beads,) 
and are filled in, the half with Berlin wool, the half with beads. Those in the 
Berlin wool have their upper half in rich violet, their lower half in black. Those 
in beads have their upper half in clear crystal, and their lower half in chalk 
white. These beads are a little smaller than the gold which forms the boundary 
lines. 

The size of these bags varies. Many of them are made rather shorter,, 
with a knitting sheath in carved ivory attached to each end of the bag at the 
point where it is gathered up, and just at the base of the opening. These sheaths 
receiving the ends of the needles, the work can be carried about with the greatest 
ease and freedom, without the least danger of damage, and the advantage of its 
being made without stiffness is at once apparent. When these sheaths are not 
added, the bag is of rather a larger size. When wooden needles are used, the open- 
ings at the ends allow them to project, while the work remains safely in the bag. 

The work on the canvas being completed, the silk lining must first be put in 
before the ends are gathered up. A quilling of violet-colored sarsenet ribbon 
is carried all round, having a bead on each stitch at regular intervals. The han- 
dles are formed of two pieces of strong but not wide braid, twisted round with 
narrow ribbon, and having the same quilling carried along the top of each. The 
last finish is given by adding a number of small tassels in black beads, which 
hang rather loosely pendant from this trimming, and give it the most elegant effect. 



84 



BERLIN, OR CANVAS WORK. 




PATTERN FOR CHAIR CUSHION. 



85 




This is a very beautiful design, and can be arranged to suit the taste of the 
worker ; of course, as far as possible, imitating the natural flowers. 



86 BERLIN, OR CANVAS WORK. 



GENERAL REMARKS ON BERLIN, OR CANVAS WORK. 

One of the best effects of Berlin work can be produced by the Irish, or Rail- 
road-stitch, as it is called from its rapid execution. It is difficult to describe, 
but simple to work. A beautiful effect is produced by using four or five shades 
of fawn color, and four or five of crimson, arranged so as to look as if the fawn 
colored stripes crossed over the crimson at regular intervals ; the stripes formed 
by the fawn colors running diagonally, and the four shades of crimson the same. 

The squares formed by the pattern meeting are filled in with black wool. It 
has the appearance of being raised from the canvas. A set of furniture in this 
pattern is very handsome. 

We do not admire the figure and landscape patterns for canvas work, though 
some are handsome ; but the sky is seldom good, or the faces. 

Autumn leaves, in their beautiful natural colors, form the most elegant 
designs for canvas work, and persons of good taste can arrange them for 
themselves, either repeating them in rows all over the cushion, or in groups on 
a grounding of black or green. 

Armorial bearings, Heraldic devices, &c, can be more readily copied from 
checked patterns. 

All fine canvas work is improved by a judicious mixture of silk ; and Gem and 
Set patterns look best in all silk. 

What are called Tapestry designs have no shading, and a few bright colors are 
used. They look better in silk than in wool. Whatever color is used it must 
be surrounded by a line of black. It may also be done with half wool and half 
silk. 

The designs for Berlin work are so numerous and so easily obtained that it is 
almost superfluous to say much about them. Of course, there is a great variety 
of tastes to suit ; and as in painting what will please one eye, will be offensive to 
another. As a general rule, however, Set patterns are more pleasing than any 
others, and next those beautiful bouquets which are used for ottomans, chair- 
backs, &c. We have one which represents a group of exquisite Fuchsias of 
various colors, beautifully grouped, with at least forty shades of color. It is 
done in tent-stitch on fine canvas, grounded in black. 






BERLIN, OR CANVAS WORK. 87 

VARIETIES OF CANVAS, OR BERLIN WORK. 
RAISED BERLIN WORK. 

In this work, the designs, whether of animals, fruit, flowers, or shells, are 
raised above the ground work. Some are very handsome. The plain parts should 
be done first, and it is necessary to have fine flat net- 
ting meshes. 

The stitch used must be such as will neither unravel netting mesh. 
nor admit of being picked out, and double wool is 

used. Begin from the left hand corner with the right shade ; after making the 
first cross-stitch, bring the needle up between them ; then take a tapestry, or 
Gobelin-stitch to the left, bringing the needle out in the same hole. Put the 
wool round the mesh, and take one stitch to the right, the needle coming out again 
in the same cross. Thread round the mesh, and take a tapestry-stitch from the 
hole of the last, down to the right, the wool to the right of it ; thread round. 
One to the crossing. A figure V is thus constantly formed on the wrong side. 
The design should be traced on the material, and framed with linen at the 
back, and a colored drawing will be necessary to copy from. When the work is 
done, comb the wool thoroughly to separate it. Then with a sharp, rather large 
pair of scissors cut off the loops, continue shearing until an even surface is ob- 
tained. In animals and birds, glass eyes can be inserted, and add to the ap- 
pearance. Cloth is the best material for the groundwork. For screens, birds 
are very pretty, and for small rugs, animals look well. 



We add to the list of stitches already given some others, which, of course, are 
only modifications of the five general ones, but which may be valuable to the 
reader. The varieties of stitches are innumerable. 



STRAIGHT CROSS-STITCH 



This stitch is the same as Cross-stitch, but is worked the straight 
way of the canvas ; and although on coarse canvas, has a very pleasing 
and finished appearance. 




BERLIN, OR CANVAS WORK. 




WINDSOR-STITCH. 

Pass the wool over six threads straight, and six 
threads down, which will present a square when the 
second row is completed. 

It is desirable that in contrasting colors, every third 
interposed should partake of the hues of those on either 
side. 




PAVILION-STITCH. 

Four threads having been taken straight down, bring the needle 
down one thread ; after that take two threads, then four, as before, 
and finish the row. Commence the second row with a stitch in two 
threads, then take four, and so proceed. Gold beads tastefully intro- 
duced have a very pretty effect. 




WILLOW -STITCH . 

This is sometimes called Basket stitch, and is effected by 
placing the needle straight down six threads. As you finish the 
sixth stitch, take out the needle at the third thread, and cross it 
over the centre. On doing other six stitches, cross over in the 
same manner, and so on. It is indifferent what colors are chosen. 




BERLIN- STITCH. 



Work this stitch in a scollop, taking six threads straight 
down. Much of the beauty of it depends upon the contrast 
of color in the threads. The effect should be ascertained be- 
fore beginning to work. 



BERLIN, OR CANVAS WORK. 



89 



LONG PLAIT 



work six stitches, slip the Erlwli 



Begin by taking twelve threads straight 
needle downward half-way, and then begin another stitch. If striped 
with gold or silver thread at intervals, where the stitches meet, the effect g 
is very striking. 




JOSEPHINE-STITCH 



This is a very pretty stitch for bags with gold or silver braid, and is hJ™ 
executed in stripes from the bottom to the top. Take six threads straight, 
and proceed to the end of the row; after which take three lengths of jjgfjMSB!" 
braid, and work one of them in Cross-stitch, diamond fashion. 



lllll'IIIIBIIIII 

iiaiianauan 
■■■I in i — 

■■■tiSiifiii 



CZAR-STITCH. HSigi 

Jrajsia 

It is worked over from six or eight threads in depth, and two in jEMR^ 
width, crossed from right to left. Gold thread should be interposed ■ 
between each row. 



«■■■■■■■■■■■■■■■■■ 
■■■■■■■■■>>«■■■■■ 



PERSPECTIVE -STITCH 



Twelve threads having been counted the cross way, take the 
needle out with two threads at the top ; proceeding after this 
fashion to take seven stitches, finishing with any appropriate 
color, and filling in with silk. 



A STAR 






Six threads must be taken four opposite ways, and after that four 
stitches between a bead in the centre of each. The stars should be 
judiciously varied in color, and worked in silk canvas. 




90 



BERLIN, OR CANVAS WORK. 




FEATHER-STITCH. 
This is done over twelve threads from left to right, in the same way 
as Tent-stitch, the next row being turned so as to represent the sem- 
blance of a feather. The centre is usually stitched up with gold, sil- 
ver, or silk thread. 



STITCH A LA VANDYCK. 




Twelve threads are taken across, and reduced two threads 
each stitch, till the width agrees with the required depth. 




POINT-STITCH. 



Ten threads must be taken straight down the canvas, and as many 
in the next stitch opposite. 



SQUARE PLAIT. 




The length-way of the canvas take ten threads deep, and work 
ten stitches straight ; then work ten threads the width of the can- 
vas, and so continue. For the full display of this stitch, bright 
colors should be placed in opposition. 




DOUBLE STAR. 

Stitch on two threads crossway, twenty-two stitches square, 
on silk canvas. Taking eight threads each way, commence the 
star in the centre. Bright colors are desirable, with a brilliant 
centre of silver, gold, or steel beads. 






BERLIN, OR CANVAS "WORK. 



91 



CROSSED LONG-STITCH. 

Ten or twelve threads deep must be taken, and worked to the 
required width of canvas. Continue the next row in the same 
manner, and with gold or silver thread, cross every eight or 
twelve stitches throughout the pattern. 

The introduction of gold and silver thread has a surprisingly 
beautiful effect, provided the substrata of color are such as to give it relief. 
Gold allies well with green ; silver, with blue or purple. The more vivid tints 
may be approximated, by the shades of color introduced between them. 




FANCY- STITCH, 



Over any number of threads, take five stitches, reverse the 
canvas, and work other five to meet them, which, leaving a space 
of canvas, of diamond form, rich colored silk can be tastefully 
filled in. 




DARMSTADT PATTERN. 

Take one stitch straight over two threads, increasing two 
threads each way until six threads are covered : the needle 
must be taken out at the centre of the last stitch. Now, take 
four threads, increase to six — decrease — form a diamond ; and 
work up the space in its centre with silver and gold thread, or 
steel beads. 

It is scarcely possible to form a conception of the effect produced by this pat- 
tern, when the colors are skillfully selected, unless it be seen on a larger scale. 




92 



BERLIN, OR CANVAS WORK. 



PALACE PATTERN. 

For this very pretty pattern, one stitch must be taken over two 
threads, the long way of the canvas, one thread being increased 
each way until eight threads are crossed, then decrease to two 
threads. Proceed in the same way for the next diamond, filling in 
the spaces with silk, in bright colors. 

This is one of those designs which never wearies the eye, possessing 
within itself, great variety of outline ; and so natural is its arrange- 
ment, that, notwithstanding the angularity of its character, it never 
offends by the obtrusiveness of one portion over another. 



£ 




DIAMONDS. 

Two threads are taken across the canvas, increasing one each 
way, to fourteen, and decreasing similarly, progressing through- 
out in the same way. For the next row, two threads are 
to be taken down the canvas, increasing and decreasing al- 
ternately. Finish with steel, silver, or gold beads, or all 
three. 



■■■■■■ 
j==JIf hl 
BEacaini 



PRINCESS- STITCH, 



You must begin with two threads, and increase two each way 
till fourteen threads are covered; after which commence again 
on two threads, and increase to fourteen as before. Variety of 
color should be alternated. 




CANE PATTERN. 

Ten threads being taken across the canvas, leave one thread between 
each stitch to the end of the row. After this, take four rows of Irish 
stitch down the canvas in shaded colors, which may be varied through- 
out. 

The rapidity with which this stitch can be worked, and the finish and 
neatness of its general effect, render it one of the most useful em- 
ployed. Its narrowness is suggestive of that kind of bordering which 



/ 



CANVAS LACE WORK. 



93 



would interfere least with the bolder and more massive character of subjects 
forming the central portions of the work. 



SUTHERLAND-STITCH. 

This stitch has a very charming effect worked as plate, 
with beads in the spaces worked with gold or silver thread. 
Having taken twelve threads the width of your canvas, 
reduce a stitch one thread each way for six rows, the last 
being on one thread. Proceed thus, executing the next 
row in the same manner, the stitch being the long way of 
the canvas. 




CANVAS LACE WORK. 

This is an imitation of black lace, done on canvas, and for which patterns of 
square crochet will answer. The close stitches are done in 4 thread Berlin 
wool. The open squares in fine black silk. All done in cross-stitch. It is very 
pretty for some purposes. Bags worked in colors with a black edge, ottoman 
covers, sofa pillows, &c. A lamp mat in our possession is made in this way of 
an oval shape, with cards — the eight of diamonds — white ground, 
scarlet spots ; the six of clubs — white ground, black spots ; the 
three of spades — white ground with black spots ; this is sur- 
rounded by "a narrow line of light brown, and then again by a 
border about an inch wide, of three shades of red. The whole 
finished by an imitation lace border about an inch and a 
half wide. It is sewed on to card board and lined with thick 
silk. It is very pretty. 






DESIGN FOR THE 
LACE BORDER. 



\ 



94 




PART OF GLOVE BOX. 



CHENILLE WORK. 



CHENILLE WORK. 



With the exception of the precious metals, chenille is the most costly mate- 
rial used in embroidery. It is mostly used on fine silk canvas, for flowers, ara- 
besque patterns, birds, &c. It is used with beautiful effect on table covers, sofa 
pillows, being worked in Irish-stitch. Chenille is made of both silk and wool, 
the former being much the handsomest. If it is good, it presents the appear- 
ance of a roll of the best velvet, the surface being smooth and even. If not 
good, it separates. There are many sizes. The finest is used for embroidery 
on cloth and velvet. Chenille Wire is much used for flowers, leaves, &c. It is 
also of various sizes. Chenille, especially scarlet or black, is extensively 
used for ladies' head dresses, and is very beautiful. Some in the form of 
a net enclosing the back hair, with a rich fringe and tassels, are elegant. Some 
are plain; some mixed with gold, silver, coral, or jet ornaments. 

GLOVE BOX IN CHENILLE, GOLD CORD, &C. 

Materials. — Three-eighths of purple satin; a similar quantity of blue silk 
or satin ; two shades of blue embroidery chenille, one skein of each shade ; skein 
of the best gold twist ; three yards of gold cord ; purple and blue sewing silk, 
and a sheet of stout card-board. 

Draw the design upon a piece of satin ten inches long and eight inches wide. 
This is for the top. For the sides, satin about thirty inches long and two inches 
wide will be required. Upon these, work the designs, as in the illustration, in 
embroidery stitch, the flowers with the chenille, using the light shade in the 
centre of the flower, and the stems, leaves, and letters with gold twist. Make 
an inner box for the gloves ; line this with quilted silk, in which a perfume has 
been introduced; make the outside covering of purple satin. Cover the top and 
sides with the worked satin, and sew gold cord upon the joinings. 

chenille on canvas. 

When working with Chenille on canvas, a needle with a round eye may be 
used, but on other materials of delicate texture it is apt to injure it. It should 



S6 



CHENILLE WORK. 




PART OF CHENILLE CARD BASKET. 



CHAIN-STITCH. 



97 



always be used in short needlefulls, to avoid drawing it many times through the 
work. Chenille work requires to be more closely shaded than silk or wool. 
Chenille, being expensive, should not be used for articles exposed to dust, but the 
experience of those accustomed to fancy work, will determine the propriety of 
its use. It often forms a pretty border for fancy articles, such as vases of 
flowers covered with a glass, and the pedestal twisted with chenille, or laid in 
regular lines. It can be slightly gummed down. For trimmings of many kinds, 
it is preferable to any thing else. 

CHAIN-STITCH. 

In making this stitch, you are to make a knot in the silk, or cotton, or wool, 
and draw the needle through to the right side. Insert the needle again, in the 




SLIPPER, WORKED IN CHAIN-STITCH. 



98 CLOTH-WORK. 

same place, and draw it out again nearer to you, making a loop with the mate- 
rial under the needle. Be careful to leave the stitch loose. Repeat this over 
again, and the chain will form as you proceed. (See cut marked Chain- 
stitch.) 

Materials. — Black velvet, ombre olive silk, of the coarsest size, blue ditto, 
and gold thread about the size of boar's head sewing cotton, No. 4. 

We have selected this design as one of the simplest specimens of embroidery, 
from the few colors employed, and the easiness of the stitches. The design is 
to be increased so as completely to cover the front of the shoe, and the scroll 
must be reversed for the second. The heel is also worked with a scroll, and 
flowers drawn to correspond with the front, but long and narrow. 

The scroll is worked with the olive silk, in close chain-stich, care being taken 
to join on a new needlefull at the same part of a shade as you left off the last 
one. This forms the greatest difficulty in working with ombre silks, as the sud- 
den transition from light to dark, or vice versa, has the worst possible effect. 

The gold thread, we have named in the list of materials, is useful for the dia- 
monds seen within a part of the scroll. It is laid on the velvet, and sewn over 
with fine silk of the same color, the ends being drawn through the velvet at the 
extremities of the lines. 

The flowers are first worked in soft cotton, and then in ombre blue silk. The 
threads must be close together, and lying in the direction indicated in the en- 
graving, for every part. 



CLOTH-WORK. (See Applique.) 

This is so similar to Applique* that a separate direction may seem unneces- 
sary. The only distinction is in the fact, that in Patent Applique* the pattern 
is stamped ready for finishing with braid, cord, &c, and that the term Applique 
is applied to muslin and lace. Cloth-work, of course, would be confined entirely 
to that material. The pattern given would do for either, but cloth of two kinds 
would be as rich and effective. 

The pattern given is applicable either for an Ottoman cushion, bag, or toilet- 
cover. If for an Ottoman cushion, the groundwork should be of fine cloth, of 



CLOTH-WORK. 



99 



any color. First decide upon size of pattern, then the color of the leaves, 
which cut out the size you want; then mark with white French chalk upon 
the cloth the direction in which you want the stem to run ; with thin, liquid 




CLOTH-WORK, SUITABLE FOR OTTOMANS, kc. 



100 . COTTONS. 

glue, slightly moisten the back of the leaves, and place them in a natural 
position near the stem; they must not be again removed. Place over them 
a sheet of paper and a book for a weight. When the leaves are laid in their 
proper places, commence working the stem, and edge the leaves with chain- 
stitch, and let the stitches pass through both velvet and cloth. The veining of 
the leaves should be rather lighter than the leaves, and worked in close satin- 
stitch. The cushion should be filled with fine wool, and trimmed with a twisted 
cord, with massive tassels. 



CARD-BOARD, OR PERFORATED CARD. 

This is card with minute holes at regular distances throughout it. It is of 
various degrees of fineness, and can be bought in whole sheets or parts of sheets. 
It is used for many ornamental articles, and is easy to work on, and when nicely 
done is nearly equal to fine canvas work. It is very nice for children to employ 
themselves on. Beautiful book-markers, port-folios, needle-books, &c, can be 
made with it. The pieces for book-markers, sides of baskets, &c, can be ob- 
tained with borders. 

Be careful in working that the needles are not too large, or the holes will be 
broken through. The small patterns must be worked in silk, the larger can be 
done in wool, or silk and wool. Sometimes the flowers are worked in Chenille, 
and the leaves in silk. 

Mottoes and designs can also be worked in gold, silver, steel, or colored beads. 

The printed Berlin patterns are also guides for card-board work. (For speci- 
mens of work on perforated card-board, see the book-markers on page 22.) 



COTTONS. 

All the sewing cottons used in this country, of fine quality, are imported. 
There are a great number, and each manufacture has its admirers. Clarke's, 
Coates's, Brooks's Glace Thread, Orr & Macknaught, &c, are all excellent cot- 



( 



CORDS. 101 

tons ; the two last being not only good for hand-sewing, but very nice for machine 
sewing. 

All of the English cottons known as the boars head, are excellent cottons for 
their various uses. They are also known as W. Evans' & Co.'s cottons. The 
varieties are as follows : 

Sewing Cottons, Royal Embroidery and French Embroidery, Tatting Cotton, 
Mechlenburg Thread, Beading Cotton, Knitting Cotton, Moravian Cotton, Co- 
lored Embroidery Cotton, Crochet Cotton. 

In choosing colored cotton for embroidery, or marking, it is best to work a 
little on a piece of cloth, and wash it thoroughly before embroidering with it, as, 
if used for handkerchiefs, or children's dresses, which are usually boiled in wash- 
ing, the color will run or fade, if not of the very best quality. 

In crochet it is important to have your hook and cotton correspond, and they 
can both be procured of the suitable sizes, and adapted to each other. 



CORDS. 

Crochet-cord resembles that made for window blinds, but made of white cot- 
ton. Used for all articles of crochet, of large size. Tidies, mats, sofa-pillow 
covers, &c. 

Crochet twine is a fine colored twine, used in crocheting over satin-cord, or 
other purposes. It is very strong. It can be bought in balls. It makes beau- 
tiful mats. 

Crystal Twine — A fine colored twine with gold and silver foil wound 
around it. It is very pretty, but is easily tarnished. 

Gold and silver twine. 

White and black cotton-cord, used for dress making. 

Fancy silk cords are innumerable; used for dress trimmings, and for fancy 
work, such as sofa-cushions, bags, &c. 

Bourdon, a Parisian cord, so covered with gold or silver tissue as to resemble 
it. It is used in crochet, silks of various colors being worked over it, so that 
the bourdons can be seen showing between the stitches. Soils very easily. 



1,02 CROCHET. 

Bullion, used in gold embroidery. It is a fine tubing of gold, either in bright 
or dead gold. When used, it must be cut very short. Sold by the ounce. 

Cannetille, a very fine wire, covered with white or green cotton, used for 
crochet flowers. 



CROCHET. 

Crochet work is not a new invention, but has been known for a long time ; 
has had its fashion, and been again neglected many times; but its recent revival 
has made it more of a favorite than at any previous period, and it is now ap- 
plied to an immense number of useful and ornamental articles ; the materials 
being either wool, silk, or cotton, as preferred. Although a very simple stitch, 
it is very difficult to describe ; but the elementary process is taught in almost all 
schools for young ladies. It affords great amusement to invalids, from its sim- 
plicity, it being possible to crochet very beautifully, even in a recumbent position, 
and many pieces of work can be executed when the eyesight has become de- 
fective. 

Among the articles to be worked in crochet, may be named, ottoman-covers, 
sofa-pillows, covers for backs and bottoms of chairs, shawls, collars, mats, rugs, 
bureau covers, slippers, bags, purses, &c, &c. 

When wool is used, the fleecy is generally chosen. 

A Crochet needle is a straight piece of ivory, bone, or steel, with a hook at 
one extremity. 



crochet needle. 

A good needle should have the end very smooth, and well rounded, and care 
should be taken that it is not too sharp, as it will cut the silk or wool ; there are 
various numbers, from 12 to 24, and 12, 15, 18, 21, and 24, will make an ex- 
cellent set of needles. 



CROCHET. 103 

The terms applied to crochet work, are as follows : . . 

Plain Crochet — where there is but one loop in each stitch. 

Plain double Crochet — where two loops are kept on the needle before the 
stitch is finished. 

Double stitch Crochet — where both meshes of the chain are taken. 

Plain stitch elastic Crochet — where the stitch is worked backward and for- 
ward, alternately, first taking the upper, then the under mesh of the chain. 

Plain stitch open Crochet. 

Open Crochet. 

Double open Crochet. 

Treble open Crochet. 

To make a stitch — at the commencement and end of a row, is to make one 
stitch of a chain before the first stitch, and after the last, which in the next row 
are to be crocheted. 

Seam-stitch, dividing or raised-stitch, is made by putting the needle through 
both meshes of the chain, and working two stitches in the same hole, always 
exactly over each other. 

To increase a stitch — to make two stitches in the same mesh. 

To decrease — to take two stitches together or to miss one stitch. 

True, or perfect stitch — when working in different colors, take care to keep 
the stitches exactly over one another, Avithout the half-stitch showing. 

To fasten off — is to draw the wool or silk through the last stitch. 

To fasten on — lay the ends of the wool contrariwise, and crochet a few 
stitches with both. 

To run the ends — to pass them down a few stitches with a needle. 

A dividing line — formed of two stitches alternately, up and down, into the 
ground of the stripes on either side. 



SPECIMENS OF CROCHET WORK. 
LOUNGING CAP . 

Materials. — Six skeins of bright scarlet Berlin wool ; 5 shades of green ditto, 
6 skeins each ; 12 skeins of black, and 4 of grey ; 4 skeins of white, and 4 of 



104 



CROCHET. 



grey floss silk, or filoselle. A handsome shaded tassel, and a ball of crochet 
cord. 

The whole of this cap is worked in s.c, over the cord. Begin with the band 
round the head, by working 240 stitches with black wool, on the cord, and closing 
into a round. 




LOUNGING CAP IN CROCHET. 



2nd round : (Black and grey wool) X 2 black and 2 grey alternately, X all 
round. 

3rd : (Black wool, white silk) X 1 b., 3 w., X all round. 4th : Black all 
round. 

5th : Scarlet all round. 6th : (Scarlet and darkest green) X 2 s., 4 g., 42 s., 
X 5 times. 

7th : (Scarlet, same green, and white) X 2 s., 5 g., 6 s., 3 w., 9 s., 3 g., 
16 s., 2 w., 2 s., X 5 times. 

8th : (Scarlet, second darkest green, black, and white) X 2 s., 2 g., 1 b., 
3 g., 4 s., 5 w., 4 s., 2 g., 1 s., 3 g., 5 s., 4 g., 4 s., 3 w., 1 s., 3 w., 1 s., 3 w., 
1 s., X 5 times. 

9th: (Same colors) X 2 s., 3 g., 1 b., 2 g., 4 s., 1 w., 4 s., 4 w., 2 s., 2 g., 
6 s., 6 g., 2 s., 5 w.j 1 s., 2 w., 1 s., X 5 times. 

10th: (Scarlet, black, white, and grey silk; third shade of green) X 3 s., 



CROCHET. 105 

3 g., 1 b., 1 g., 2 s., 2 w., 1 s., 4 grey, 1 s., 4 w., 2 s., 1 g., 5 s., 3 g., 1 b., 
3 g., 1 b., 4 w., 2 s. 1 g., 1 s., 2 tv., X 5 times. 

11th: (Same colors) X 1 w., 3 s., 4 g., 1 s., 2 w., 1 s., 1 g., 1 s.. 4 g., 1 s., 
3 w., 3 s., 3 g., 2 s., 2 g., 1 b., 4 g., 1 s., 3 w., 2 s., 3 g., 1 s., 1 w., X 5 times. 

12th : (Same colors except green, which change to the next lightest) X 2 w., 
3 s., 6 g., 1 s., 1 g., 2 s., 3 g., 1 s., 2 w., 3 s., 5 g., 1 s., 1 g., 1 b., 4 g., 2 s., 
3 w., 1 s., 2 g., 1 s., 1 g., 1 w., X 5 times. 

13th : (Same colors with lightest green) X 2 w. (over the first two of last 
round), 7 s., 3 g., 2 w., 3 s., 1 g., 1 s., 1 w., 3 s., 4 g., 2 b., 1 g., 1 b., 4 g., 3 s., 

5 w., 1 s., 2 g., 1 s.j 1 w., X 5 times. 

14th : (Same colors with the lightest green but one) X 1 w., 3 s., 5 g., 2s., 

2 w., 1 s., 3 g., 1 s., 3 w., 2 s., 2 g., 2 b, 4 g., 5 s., 2 g., 1 s., 1 w., 1 s., 2 g., 
1 s., 2 g., 1 s., 1 w., X 5 times. 

15th: (Same colors, with next darkest green) 3 s., 4 g., 1 b., 1 g., 2 s., 1 w., 
1 s., 1 w., 1 s., 2 w., 1 s., 3 w., 2 s., 7 g., 1 s., 5 g., 2 s., 3 w., 1 s., 3 g., 1 s., 

1 w., 1 s., X 5 times. 

16th: (Scarlet, black, white, and next darkest green) X 6 g., 1 b., 2 g., 2 s., 

3 w., 2 s., 5 w., 3 s., 5 g., 1 s., 3 g., 1 b., 2 g., 2 s., 4 w., 3 s., 1 w., 1 s., 1 g., 
X 5 times. 

17th : (Same colors) X 1 s., 1 g., 1 s., 2 g., 1 b., 3 g., 3 s., 9 w., 2 s., 1 g., 

6 s., 2 g., 1 b., 3 g., 5 s., 5 w., 2 s., X 5 times. 

18th : (Scarlet, white, and darkest green) X 1 g., 2 s., 5 g., 5 s., 4 w., 1 s., 

2 w., 2 s., 2 g., 6 s., 5 g., 7 s., 3 w., 3 s., X 5 times. 

19th : (Scarlet, and darkest green) X 4 s., 3 g., over centre three of 5 g., 
15 s., 1 g., 8 s., 3 g., 14 s., X 5 times. 

Four rounds of scarlet complete the band round the head. 

The Top of the Cap. — This is worked from the centre, and gradually in- 
creased until of the same dimensions as the band, that is, containing 240 stitches. 
Begin by working 12 stitches, with black wool on the cord, and forming it into 
a round. 2nd round : Increase to 24 stitches. 3d : Increase to 40. 

4th: (Black and grey) X 2 g., 2 b., X 13 times. 5th : (Black and white) X 

3 w., over 2 g., 2 b., over b., X 13 times. 

6th : (Black and scarlet) X 4 s., over 3 w., 2 b., over b., X 13 times. 



106 CROCHET. 

7th to 11th : (All scarlet) Increasing sufficiently to keep the work flat, and 
having 120 stitches in the last round, or 8 times 15. 

12th : (White, scarlet, and lightest green) X 3 s., 4 g., 4 s., 2 w., 2 s., 1 w., 
2 s., 1 g., X 8 times. 

Observe that care must be taken to increase, so that the pattern begins 
always at the same point. 

14th : (White, scarlet, and third green) X 2 g., 2 s., 2 g., over second and 
third of 4 g., in last round 5 s., 3 w., 2 s., 1 w., 1 s., 2 g., X 8 times. 

loth : (Same colors) X 2 s., over 2g., 2 more s., 1 g., 1 s., 1 g., 3 s., over 2, 

1 g., 2 s., 2 w., 2 s., 1 w., 2 s., 2 g., X 8 times. 

16th : (Darkest green but one, white, and scarlet) X 1 s.,2 w., 1 s., 1 w., 1 s., 

2 g., 1 s., 2 g., 5 s., 2 w., 1 s., 2 g., 1 s., X 8 times. 

17th: (Same colors) X 1 s., 4 w., 3 s., 3 g., 5 s., 2 w., 1 s., 2 g., 3 s., X 8 
times. 

18th : (Darkest green, white, and scarlet) X 2 s., 2 w., (over second and 
third of 4 white in last round,) 5 s., 12 g., the last over the first of 2 green, 5 
scarlet, X 8 times. 

There will now be 208 stitches, work on two rounds of scarlet, increasing to 
240, and then join on the band. This is done by holding the top of the band 
and the edge of the round together, and working one round, taking up the chain 
of both. Work on the cord with black wool and white silk, two stitches of each, 
alternately ; draw in the end of twine. Take care in placing the two parts of 
the cap together, to make that part which begins every round, at the same place 
in both, as a small defect in the pattern is inevitable, and must be covered by 
the tassel. Draw the string of the tassel through the centre of the crown, and 
fasten it in its place. The cap may be lined with scarlet sarsenet. 

Our limits will not permit us to give many illustrations with directions, but the 
plates which follow will be sufficient for the experienced worker. 



CROCHET. 



107 




ANTI-MACASSAR IN CROCHET. 




CROCHET EDGING. 



103 



CROCHET. 












;ijp^^ 




ANTI-MACASSAR IN CROCHET. 




CROCHET COLLAR — POINT DE VENISE. 



CROCHET. 



109 





















S=l 



CROCHET EDGING. 

HWWWiWl'iJIIi'l 1 




LAMP-MAT IN CRYSTAL TWINE. 



no 



CROCHET. 




TIDY. — NEAPOLITAN PATTERN. 




CROCHET COLLAR. 



CROCHET. 



Ill 



CROCHET BEAD WORK. 



This is crochet work in which beads are introduced, and in which, judi- 
ciously mixed, they produce very beautiful articles, such as purses, baskets, 
lamp mats, &c, when they can be used with very brilliant effects. We give two 
specimens of this kind of work with directions. 




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SECTION FOR THE TOP OF A PINCUSHION. 

The centre is in open square crochet. The border in close crochet, with the 
design in beads. 

The top of the box being covered with silk, the color will be visible through 



112 CROCHET. 

the open crochet. It is, therefore, as well adapted for the simple pincushion as 
for the hox shape. 

The color of the heads should correspond with that of the silk, with which 
the frame is covered. 



PURSE, IN CROCHET BEAD WORK. 

Materials. — Six skeins of white crochet silk, two skeins of ombrS scarlet 
ditto, in long shades, three skeins of slate-color, and one of bright scarlet. 
Two ounces of transparent white beads, rather larger than seed beads, four 
strings of gold, the same size, and a hank of steel to match. For the garni- 
tures (which must be entirely of bright steel), two rings, a handsome tassel for 
one end, and a deep fringe for the other. Boulton's tapered indented crochet- 
hook, No. 23. 

Begin by threading all the white beads on the white silk ; half the gold on 
the ombre* cerise, and the steel on the slate-colored. What scarlet silk is used 
in the square end is without beads ; the few rows at the other end, of that color, 
are threaded with gold, which may be put on afterwards. 

The design of the square end consists of a spray of roses and leaves, the 
former in scarlet ombre* with gold beads intermixed, the latter with slate-silk and 
steel. The ground is composed wholly of white beads, One being dropped on 
every stitch; where, therefore, the scarlet and slate silks are worked without 
beads, they appear to be in intaglio. A scroll of steel beads below the group 
is intermixed with the white, and the top and bottom of the square end are 
finished off with Vandykes of plain scarlet without beads. At the bottom is an 
open pattern in scarlet, to which is attached the fringe. 

Begin with the plain scarlet silk, with which make a chain of 100 stitches, 
and close it into a round. Work one round in scarlet, using in the end of white 
silk. 

2nd round : In which you begin to drop on the white beads. X 2 white, 3 
scarlet, X 20 times. 

3rd: X 3 white, 1 scarlet, 1 white, X 20 times. 

4th: All white; work in the scarlet silk all round, and then fasten it off, as 
no more is required until the whole square end is worked. 



CROCHET. 



113 




PURSE, IN CROCHET BEAD WORK. 



114 CKOCHET. 

5th : X 22 white, 1 steel, 23 white, 1 steel, 3 white, X twice. 

6th : X 21 white, 2 steel, 22 white, 2 steel, 3 white, X twice. 

7th : X 3 white, 1 steel, 5 white, 2 steel, 3 white, 2 steel, 4 white, 3 steel, 2 
white, 1 steel, 6 white, 2 steel, 4 white, 2 steel, 3 white, 3 steel, 4 white, X 
twice. 

8th : X 3 white, 2 steel, 3 white, 3 steel, * 2 white;, 4 steel, * twice ; 2 white, 

2 steel, 4 white, 3 steel, 3 white, 3 steel, 2^ white, 4 steel, 4 white, X twice. 
9th : X 2 white, 3 steel, * 2 white, 4 steel, * 3 times ; 1 white, 3 steel, 3 

white, 4 steel, f 2 white, 4 steel, f twice, 4 white, X twice. 

10th : X 2 white, 2 steel, * 3 white, 3 steel, * 3 times ; 2 white, 2 steel, 4 
white, 3 steel, f 3 white, 3 steel, f twice ; 5 white, X twice. 

11th: X 1 white, 1 steel, 2 white, 4 steel, 4 white, 3 steel, 3 white, 2 steel, 

3 white, 1 steel, 3 white, 4 steel, 4 white, 3 steel, 3 white, 2 steel, 3 white, 1 
steel, 3 white, X twice. 

12th: X 4 steel, 2 white, 1 steel, 1 white, 5 steel, 3 white, 3 steel, 4 white, 

4 steel, 2 white, 1 steel, 1 white, 5 steel, 3 white, 3 steel, 4 white, 1 steel, 3 
white, X twice. 

13th : X 3 white, 2 steel, 2 white, 1 steel, 4 white, 5 steel, 4 white, 2 steel, 
3 white, 2 steel, 2 white, 1 steel, 4 white, 5 steel, 4 white, 2 steel, 4 white, X 
twice. 

14th: 3 white, 2 steel, 2 white, 3 steel, 4 white, 4 steel, 8 white, 2 steel, 2 
white, 3 steel, 4 white, 4 steel, 9 white, X twice. 

15th : X 4 white, 1 steel, * 3 white, 4 steel, * twice, 8 white, 1 steel, f 3 
white, 4 steel, f twice, 8 white, X twice. 

16th: X 9 white, 4 steel, 4 white, 2 steel, 13 white, 4 steel, 4 white, 2 steel, 
8 white, X twice. 17th: All white. 

18th : X 14 white, 2 slate silk, 34 white, X twice. 

19th : X 14 white, 3 slate, 8 white, 5 steel, 20 white, X twice. 

20th: X 14 white, 5 slate, 4 white, 9 steel, 12 white, 2 steel, 4 white, X 
twice. 

21st: X 14 white, 11 slate, 1 steel, 3 slate, 2 steel, 10 white, 2 steel, 1 white, 
2 steel, 4 white, X twice. 

22nd: Begin the ombre' scarlet, X 16 white, 7 slate, 2 steel, 12 white, 2 gold, 
2 white, 2 steel, 4 white, 2 steel, 1 white, X twice. 



CROCHET. 115 

23rd : X 13 white, 11 steel, 12 white, 1 gold, 2 scarlet silk, 1 gold, 7 white, 

2 steel, 1 white, X twice. 

24th: X 14 white, 9 steel, 3 white, 2 steel, 7 white, 1 gold, 3 scarlet, 6 gold, 
5 white, X twice. 

25th : X 10 white, 1 gold, 5 white, 7 steel, 2 white, 4 steel, 6 white, 1 gold, 

3 scarlet, 1 gold, 5 scarlet, 1 gold, 1 white, 2 steel, 1 white, X twice: 

26th : X 7 white, 2 gold, 2 scarlet, 4 gold, 5 white, 2 steel, 3 white, 4 steel, 

2 slate silk, 4 white, 1 gold, 2 scarlet, 1 gold, 6 scarlet, 1 gold, 1 white, 2 steel, 
1 white, X twice. 

27th : X 9 white, 1 gold, 2 scarlet, 1 gold, 2 scarlet, 1 gold, 4 white, 1 steel, 
1 slate silk, 3 white, 4 steel, 4 slate, 2 white, 1 gold, 2 scarlet, 1 gold, 3 scarlet, 
1 gold, 2 scarlet, 1 gold, 4 white, X twice. 

28th : X 11 white, 3 gold, 1 scarlet, 1 gold, 4 white, 1 steel, 1 slate, 3 white, 

3 steel, 5 slate, 2 white, 1 gold, 2 scarlet, 1 gold, 3 scarlet, 1 gold, 2 scarlet, 3 
gold, 2 white, X twice. 

29th: X 8 white, 3 gold, 2 scarlet, 1 gold, 1 scarlet, 1 gold, 4 white, 1 steel, 
1 slate, 3 white, 3 steel, 5 slate, 2 white, 1 gold, 1 scarlet, 2 gold, 1 scarlet, 2 
gold, 3 scarlet, 1 gold, 2 scarlet, 1 gold, 1 white, X twice. 

30th : X 8 white, 1 gold, 1 scarlet, 1 gold, 3 scarlet, 2 gold, 3 white, 2 steel, 

1 slate, 3 white, 3 steel, 5 slate, 3 white, 3 gold, 3 scarlet, 1 gold, 4 scarlet, 1 
gold, 2 white, X twice. 

31st: X 8 white, 1 gold, 1 scarlet, 1 gold, 3 scarlet, 2 gold, 3 white, 1 steel, 

2 slate, 4 white, 2 steel, 5 slate, 4 white, 7 gold, 3 scarlet, 1 gold, 2 white, X 
twice. 

32nd: X 8 white, 1 gold, 2 scarlet, 4 gold, 3 white, 1 steel, 2 white, 1 steel, 

4 white, 2 steel, 5 slate, 5 white, 4 gold, 5 scarlet, 1 gold, 2 white, X twice. 
33rd : X 9 white, 5 gold, 1 white, 3 steel, 3 white, 1 slate, 1 steel, 3 white, 

1 steel, 5 slajte, 5 white, 1 steel, 2 white, 1 gold, 5 scarlet, 1 gold, 3 white, X 
twice. 

34th : X 20 white, 1 slate, 1 white, 1 steel, 2 white, 2 steel, 5 slate, 4 white, 
1 steel, 4 white, 5 gold, 4 white, X twice. 

35th : X 19 white, 3 slate, 2 white, 2 steel, 4 slate, 5 white, 1 steel, 14 white, 
X twice. 



116 CROCHET. 

36th : X 14 white, 1 slate, 3 white, 3 slate, 1 steel, 3 white, 4 steel, 7 slate, 

2 steel, 12 white, X twice. 

37th : X 14 white, 7 slate, 1 steel, 3 white, 2 steel, 2 white, 9 slate, 2 steel, 
10 white, X twice. 

38th : X 14 white, 6 slate, 2 steel, 3 white, 2 steel, 1 slate, 1 steel, 5 white, 
5 slate, 2 steel, 9 white, X twice. 

39th : X 10 white, 2 steel, 1 white, 2 steel, 5 slate, 2 steel, 4 white, 6 steel, 
5 white, 4 slate, 3 steel, 8 white, X twice. 

40th : X 10 white, 2 steel, 2 white, 6 steel, 5 white, 1 steel, 3 slate, 2 steel, 
5 white, 4 slate, 3 steel, 6 white, 1 steel, X twice. 

41st : X 1 steel, 6 white, 2 steel, 16 white, 1 steel, 3 slate, 3 steel, 4 white, 
5 slate, 3 steel, 4 white, 1 steel, 1 slate, X twice. 

42nd: X 1 steel, 7 white, 1 steel, 1 white, 2 steel, 1 white, 5 gold, 7 white, 

1 steel, 4 slate, 2 steel, 5 white, 3 slate, 1 white, 3 steel, 3 white, 2 steel, 1 
white, X twice. 

43rd : X 10 white, 2 steel, 1 white, 1 gold, 4 scarlet, 1 gold, 6 white, 1 steel, 
4 slate, 3 steel, 5 white, 2 slate, 2 white, 2 steel, 5 white, 1 steel, X twice. 
44th: X 12 white, 3 gold, 3 scarlet, 2 gold, 4 white, 1 steel, 1 white, 4 slate, 

3 steel, 5 white, 2 slate, 3 white, 1 steel, 1 white, 2 steel, 2 white, 1 steel, X 
twice. 

45th : X 7 white, 2 steel, 2 white, 1 gold, 3 scarlet, 2 gold, 2 scarlet, 1 gold, 

4 white, 1 steel, 1 white, 5 slate, 2 steel, 5 white, 2 slate, 4 white, 1 steel, 2 
white, 1 steel, 1 white, 1 steel, X twice. 

46th : X 7 white, 2 steel, 1 white, 1 gold, 6 scarlet, 1 gold, 1 scarlet, 1 gold, 
3 white, 2 steel, 1 white, 5 slate, 2 steel, 4 white, 2 slate, 3 white, 1 slate, 1 
white, 1 steel, 2 white, 1 steel, 1 white, 1 steel, X twice. 

47th : X 10 white, 1 gold, 7 scarlet, 2 gold, 3 white, 1 steel, 2 white, 5 slate, 

2 steel, 1 slate, 8 white, 2 slate, * 2 slate, 1 white, * twice, X twice. 

48th : X 10 white, 1 gold, 3 scarlet, 2 gold, 2 scarlet, 2 gold, 2 white, 1 steel, 

3 white, 5 slate, 2 steel, 2 slate, 7 white, 2 slate, 1 white, 3 slate, 2 white, X 
twice. 

49th : X 9 white, 3 gold, 4 scarlet, 6 gold, 4 white, 4 slate, 3 steel, 3 slate, 
3 white, 3 slate, 3 white, 1 steel, 2 white, X twice. 



CROCHET. 117 

50th : X 9 white, 1 gold, 2 scarlet, 1 gold, 4 scarlet, 2 gold, 6 white, 4 slate, 

1 white, 4 steel, 3 slate, 3 white, 4 slate, 3 white, 1 steel, 2 white, X twice. 
51st : X 9 white, 1 gold, 3 scarlet, 5 gold, 6 white, 4 slate, 1 steel, * 1 white, 

2 steel, * twice, 9 slate, 2 white, 1 steel, 3 white, X twice. 

52nd : X 10 white, 1 gold, 5 scarlet, 2 gold, 5 white, 4 slate, 1 white, 1 steel, 
1 white, 1 steel, 2 white, 3 steel, 7 slate, 3 steel, 4 white, X twice. 

53rd: X 11 white, 6 gold, 5 white, 3 steel, 3 white, 1 steel, 5 white, 6 steel, 
10 white, X twice. 

54th : X 22 white, 1 steel, 2 white, * 1 steel, 1 white, * twice, 1 steel, 5 white, 
9 steel, 6 white, X twice. 

55th : X 23 white, 4 steel, 2 white, 1 steel, 2 white, 2 steel, 2 white, 7 steel, 
7 white, X twice. 

56th : X 19 white, 2 steel, 4 white, 1 steel, 4 white, 2 steel, 2 white, 1 steel, 

3 white, 4 steel, 8 white, X twice. 

57th: X 18 white, 1 steel, 2 white, 4 steel, 25 white, X twice. 

58th : All white, worked round to the centre of one side ; also 

59th : (Begin again with the plain scarlet), X 1 scarlet, 4 white, X 20 times. 

60th: X 2 scarlet, 2 white, 1 scarlet, X 20 times. 

61st: All scarlet; fasten off scarlet. 

62nd: With the white silk, 3 chain, dropping a bead on every chain, miss 3, 
s.c. on both sides of the fourth; repeat all round. 

Now, instead of working round, work backwards and forward, drojjping a 
bead on every chain stitch, so that they may all come on the right side of the 
purse. 

1st row: 5 c.h., turn s.c. in same stitch, X 5 c.h., miss 3, s.c. on s.c, X all 
along the row. 

2nd row: 6 c.h., turn, s.c. on centre of 5 c.h., X 5 c.h., s.c. on centre of 
next loop of 5, X to the end. 

Repeat this row backwards and forwards until 24 are done : then work the 
same pattern all round for 6 rounds. Thread the rest of the gold beads on the 
scarlet silk, and do 2 rounds in the same way with it; then 3 rounds of white; 
then 2 more scarlet, 3 white, then 2 scarlet. 

To diminish at the end, do 2 rounds of white, like the previous ; then 1 with 



118 EMBROIDERS. 

only 4 chain ; then 1 with 3 chain ; and finally a round with 2 chain between 
the s.c. 

Draw it up with a needle and white silk ; sew on the tassel, and slip on the 
rings. 

At the other end, do a row to close the round, with the plain scarlet in s.c. ; 
on which work X 6 c.h., miss 4, s.c. under 5th, X 10 times. Turn, and in 
each loop work 2 s.c, 4 d.c, 2 s.c. 

Fasten off, and sew on the deep fringe garniture. 



EMBROIDERY. 



Under the general name of embroidery, is classed nearly all ornamental work 
which is done by the needle. Its varieties are so great that it will be almost im- 
possible to enumerate all. It is practiced by nearly all nations in some form, 
and on some material, from the deer skins of the Indian Hunters to the finest pro- 
ductions in muslin and lace of the French looms. The Chinese, among other na- 
tions have long been celebrated for their beautiful embroidery, the execution of 
which has never been excelled, although their designs are often very destitute of 
grace and beauty. The workmanship on their crape shawls has never been sur- 
passed, though the French manufactures are nearly equal. 

The beautiful embroidery executed in the East Indies on the fabric known as 
India muslin, are superb specimens of needle work, though not so highly prized 
as formerly, the French designs being so much more elegant. 

All the oriental nations excel in embroidery of different kinds, the Turkish 
women particularly excelling in their work, in very thin, delicate materials, such 
as muslins, crape, gauze, lace, &c, which they cover with the most elaborate de- 
signs in gold and silver. 

There is no nation where muslin embroidery is carried to such perfection as 
among the French. It sometimes forming the chief employment of the working 
class in the largest towns. 

Our space will not allow a description in detail of the different styles of em- 



EMBROIDERY. 119 

broidery practiced by different nations, but we sball endeavor to give some direc- 
tions in relation to those practiced by persons who make it a pleasant part of 
their home enjoyments. 

We have already given, under Canvas work, all that is important in that branch 
of needle work, in wool, silk, chenille, &c. The remaining ones may be classed 
under the heads of — 

Broderie Anglais, for which we have given specimens, and which is the simplest 
of all the different kinds, and its rapid execution makes it very desirable for 
ladies' under garments and children's clothes. It is simply holes of various 
shapes and sizes sewed over carefully and neatly. Some of the patterns are very 
handsome. 

French Embroidery includes all those delicate and elaborate specimens of em- 
broidery on muslin, worked in an infinite variety of stitches, some so exquisitely 
delicate that it seems impossible that it could have been executed by human 
hands. The stitch generally used is satin-stitch, and the cotton is of the finest 
and most delicate fabric. 

Tambour Work is done in a stitch very similar to crochet. The material to 
be worked must be placed in a frame and the pattern drawn on it. The needle 
used resembles a crochet needle, very fine. The thread to be used is held in the 
left hand under the work, and caught up on the upper side by the hook, forming 
a loop. This loop must be kept on the hook, and inserted again, at a short dis- 
tance, and another drawn up, through it. This makes a chain-stitch which must 
follow the outline of the pattern first, and then gradually fill it up. It is not 
much in demand being, for muslin work generally considered an inferior kind 
of work, although very fashionable several years past. It is applied to Applique 
with success, and some patterns are very beautiful on satin or velvet, worked 
with silk mixed with gold. But chain-stitch, which is nearly the same thing, can 
be done with a common needle with much less trouble. 

Embroidery on Lace is distinguished by the various names of English Lace. 
Valenciennes, Brussels, Mechlin, Point Lace, Honiton, Cruipure, $c. Many of 
these laces are successfully imitated by ladies. 

Silk Embroidery is used chiefly on thick material, such as merino, cloth, vel- 
vet, satin, &c, though very beautiful dresses are done on lace, with floss silk. 
On merino it is used much for infants' cloaks, and other articles of children's 



120 



EMBROIDERY. 



wear. The patterns can "be traced for silk embroidery, either by marking it on 
tissue paper, and then running it with fine cotton on the material ; taking care, 
if it is colored, to trace the paper and cotton, nearly of the same color, or by 
using the pounced patterns. On white merino, with rich white silk, the effect 
is beautiful. The silk used is generally the half-twisted, or mitorse silk, the 
floss silk being apt to wear rough on garments. 

SPECIMENS OF MUSLIN EMBROIDERY. 




CORNER FOR POCKET-HANDKERCHIEF. 



EMBROIDERY. 



121 




HANDKERCHIEF BORDER. 



llii 



EMBROIDERY. 








EMBROIDERY. 
PECIMENS OF MUSLIN EMBROIDERY, 



123 




FLOUNCING. 



124 



EMBROIDERY. 




FLOUNCING. 



v *$Q 



cb 




PATTERN FOR INSERTION. 



EMBROIDERY. 



125 




CORNER OF POCKET HANDKERCHIEF. 




EDGING. 




^A^^> 



EDGING. 



126 



EMBROIDERY. 



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CORNER OP POCKET HANDKERCHIEF. 





ooooooooooo ooooooooooooooo 



EDGING. 



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EDGING. 



EMBROIDERY. 



127 



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CORNER OF POCKET HANDKERCHIEF. 




EDGING. 




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EDGING. 



128 



EMBROIDERY. 




FLOUNCING. 



m4M§0w 



i$jkk 



EDGING. 




EMBROIDERY. 



129 




CORNER FOR POCKET-HANDKERCHIEF. 



130 



EMBROIDERY. 




INSERTION. 




INSERTION. 




PART OF PATTERN FOR A COLLAR. 



EMBROIDERY. 



? 9 4 o©Q 




INSERTION. 




EDGING. 




131 



EDGING. 




EDGING. 




EDGING. 



132 



EMBROIDERY. 
SPECIMENS OF SILK EMBROIDERY, 




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SILK EMBROIDERY. 




SILK EMBROIDERY. 



EMBROIDERY. 



133 




SILK EMBROIDERY. 




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SILK EMBROIDERY. 



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134 



EMBROIDERY. 




SILK EMBROIDERY FOR CHILD S CLOAK. 



FANCY FLOWERS. 



135 



FANCY FLOWERS. 

This beautiful branch of fancy work is carried to great perfection among many- 
nations, the materials being of great variety. Some of the most common we 
shall enumerate, naming only those which are most accessible to ladies — 
feathers, wax, shells, tissue paper, cloth, &c. 

The feather flowers of South America are among the most beautiful speci- 
mens of that kind of work. Although we have not the facilities for making 
them here similar to those, yet many beautiful articles, as well as flowers, can 







FIRE SCREEN, OF PHEASANTS WINGS. 



136 FANCY FLOWERS. 

be made from our birds. We gave, under the head of braiding, a pattern for a 
fan of great beauty, which could be easily made. We give another specimen 
of feather work, which is very handsome and not difficult to accomplish. 



FIRE SCREEN, OF PHEASANTS' "WINGS. 

Fire screens composed of the wings of pheasants, or other game, are both 
pretty and useful ; and when hung at the fireside, below the bell pull, form a 
nice addition to the decorations of a drawing-room. The wings must be cut off 
when the bird is fresh killed, and as near the body as possible; being careful 
not to ruffle the feathers. When cut off, the wing stretched out has this appear- 
ance: 




Place the inner edges together, and sew them up till near the top feathers ; when 
sewed, lay the screen on a table right side downwards, and having placed a 
double paper over the sewing, press it with a hot iron. When that side is done, 
turn the screen, and place a weight on the right side, to give it a flat back ; it 
is then fit to attach to the handle, a gilt one looks best; form rosettes of the 
large scarlet chenille, and sew one on each side, so as to cover where the handle 
joins ; a pair of scarlet chenille tassels and silk cord are required, as seen in 
design ; the screen is hung by the loop of cord. 

FLOWERS, IN WAX, SHELLS, &C 

We have not space to give directions for making flowers in the various mate- 
rials we have mentioned, but they are taught in all large cities, and will amply 
repay the time bestowed in learning, by forming most beautiful objects for the 
parlor. The simplest of all of them are the flowers formed of tissue paper, 
which, being already colored, only want adapting to each flower, and the stems 
are always formed of soft flexible wire. We have seen them so beautifully 



FRINGES. 137 

made, as almost to equal wax or cloth. Copy the flower from the natural one 
if possible, and if not, from a painted representation. They fade when made 
of paper sooner than cloth, but as they are comparatively little trouble, they 
can be replaced by new ones. 

Flowers made with shells are not very pretty, always having an uneven look, 
and, we think, do not repay for the trouble. 



FRINGES. 

Fringe is made in almost any material used in fancy work generally corres- 
ponding to the other parts of the work. Wool, silk, beads, &c, are most used. 

Bead fringe is beads strung on very strong thread and formed into loops of 
any width desired, either of the same colors used in the mat, &c, or pure white. 
Two or three rows, varying in width, are sometimes used. 

Black fringes are sometimes used made with bugles, and for some articles of 
dress are very handsome. 

Of silk fringes there is a great variety manufactured for dress trimmings. 

"Wool fringe is used to finish off canvas work, and is made of a great variety 
of shapes and sizes. The beauty of mats destined for lamp-mats, cologne- 
stands, &c, depends very much on the fringe. 

Cotton fringes are of great variety, and used for many household articles, 
and for trimming children's dresses, Marseilles basques, lawn dresses, &c. 

Orne' fringe balls are balls of wool dyed expressly for fringes. Small white 
spaces are left for guides in cutting. Fold the pieces exactly in these white 
places, and cut into even lengths, and crochet them into the places destined for 
them ; taking care not to mix the pieces together, or the effect will be destroyed. 



138 



GUIPURE WORK. 



GUIPURE WORK. 

This name is applied to those open ground-works which are so fashionable in 
muslin and lace work. It is done in bars worked in button-hole-stitch on a line 
of thread. They are sometimes straight lines, sometimes angles, and some- 
times proceed from the thicker part of the work. As there is a great deal of 
work in these bars, some use fine cotton braid, but it is not handsome, though 
very strong. After tracing the design, the ground-work must be done first. 
There is a net called Guipure net, which is sometimes used for this kind of 
work. 

Real Ghiipure Lace is a very expensive article, and the imitations are very 
numerous. 

SPECIMENS OF GUIPURE WORK. 
COLLAR IN IRISH GUIPURE. 

Irish guipure is applied to that style of embroidery on muslin in which the 
ground is formed of bars, sewed over, and with the spaces between cut out ; the 




COLLAR IN IRISH GUIPURE. 



pattern itself is thus represented solid on an open ground. It has a prettier 
effect than is produced by almost any kind of muslin work, and is not less simple 
than elegant. 



GUIPURE WORK. 



139 




PATTERN FOR INSERTION IN GUIPURE LACE. 




GUIPURE TRIMMING. 



GUIPURE WORK 




GUIPURE FLOUNCING. 



GUIPURE WORK. 



141 




DESIGN FOR GUIPURE COLLAR. 




GUIPURE INSERTION. 



142 



GUIPURE WORK. 




FLOUNCING. 




GUIPURE INSERTION. 



HERRING-BONE. 143 



HERRING-BONE. 



Herring-bone is universally known. It has many varieties, and is applied to 
many kinds of work. It is nearly the same stitch, in appearance, as used to be 
known under the name of fagoting, and which used to be applied to linen work 
where the threads could be drawn. The process was this : Draw 6 or 8 threads 
according to the fineness of the linen. Take very fine cotton and take up 
four threads on the needle ; sew that over two or three times, up towards the 
top ; then take the same four with four more, and unite the two with one or more 
stitches ; then take the last four and sew them over two or three times, uniting 
them with four more, when you reach the bottom again. Repeat this all the 
time ; its beauty will depend on its regularity, and being done with suitable cot- 
ton. The same stitch, without the threads being drawn, is used for embroider- 
ing children's clothes, on muslin, merino, cloth, &c. With colored worsted, it 
is pretty on children's aprons, &c. 

We give a specimen of an infant's shoe, of white merino, or flannel, embroid- 
ered in herring-bone stitch. The directions are for white silk, but it would look 
very pretty in colored merino, with fine wool for the stitch. 



a baby's first shoe. 

Materials. — Quarter of a yard of fine Saxony flannel (which will make two 
pairs and one shoe), a skein of white silk twist, one and a half yards of narrow 
white ribbon. 

This shoe is made in one piece. Double some thin paper, and pencil from 
the engraving, the exact size; afterwards cut out the shape in brown or other 
stout paper, taking care to mark the turnings. It will be as well to shrink the 
flannel at-iirst by pouring boiling water on it, and letting it stand till cold; 
afterwards dry and iron. 

Double the paper pattern together ; press down the turnings, double the flan- 
nel lengthways ; tack the paper pattern on to the flannel, stitch up the backs, 
and stitch down the front from the notch in the turning to the toe ; open the 
shoe, cut the flannel to the size of the turnings, and then take off the pattern ; 



144 



HERRING-BONE. 




A BABY'S FIRST SHOE. 



HONITON LACE IN CROCHET. 145 

the heel and toe will then fit into its place, which must now be stitched; open 
the turnings of front and back, and tack them down, also the turning round the 
top and the slit. Then turn the shoe on the right side, work herring-bone stitch, 
round the top and down the front, beginning at the back seam at the top, and 
work down to the toe. Then fasten off. In herring-bone stitch, it may be 
worked continuously round, without fastening off. Make 4 eyelet holes on each 
side to draw in the ribbon. Then trim the shoes. 



HEM-STITCH. 

This pretty stitch is suitable for handkerchiefs and linen ruffles, and is done 
by first turning the hem the desired width, and then drawing a number of threads 
more or less in proportion to the fineness of the cl'oth. Having turned your hem 
exactly to meet the upper drawn thread, baste it carefully down. Thread your 
needle with fine cotton, and commence to hem it, taking up four threads each 
stitch, and putting one stitch between each four. * 

Double Hem-stitch is doing the same on both edges. 

Another pretty stitch may be made by drawing more threads and making the 
space wider, and then after double hem-stitch, take the second four and pass 
over the first four, leaving the thread to make a line through the middle, then 
pass to the fourth and pass over the third. 

Another way is to double hem-stitch, and then gather three bunches of stitches 
together with a smooth knot done in embroidery cotton. This make a very hand- 
some edge for pillow cases or chemise sleeves. 



HONITON LACE IN CROCHET. 



To those who are familiar with Crochet and practice it successfully, the imita- 
tion of that beautiful fabric, Honiton Lace, affords great amusement, and very 
elegant articles of dress can be furnished. The stitch is the same as for ordinary 
Crochet, and the additions necessary are made by patterns of lace stitch. The 
10 



146 



HONITON LACE IN CROCHET. 



pieces necessary to complete a collar can be made separately and then joined 
together in the desired shape. Of course any one wishing to copy a collar would 
arrange their plan before commencing, and complete each sprig before putting 
them together. The collar can be completed by a foundation of Brussels net 
if desired, or by guipuring. The cotton used is very fine, and the collar is 
finished by a purl edge. 




HONITON LACE IN CROCHET. 



HONITON LACE SPRIG. 



The different laces which are made on a pillow, must always retain a high 
price, from the tediousness of the process of their production. They are some- 
times valued more for their expense, than for their beauty of design. The Hon- 



pnniiniimniiHi';, 

iiiiir 



jKjl 



HONITON LACE. 

iiir l fliMi!iiiiiinii':i(iiiiiiiiiiiiiiiiini':ii 



147 






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flip 



ill 



IS . 

■fflsa? 




4 



1W 



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148 KNITTING. 

iton lace has, for the last few yeai*s, been in great favor. Although not so ex- 
pensive as formerly, it still bears a rather high price, and we should be glad that 
it were so, if the poor lace-makers themselves reaped the advantage ; but it is not 
so, as they scarcely receive enough, after a close day's work, to supply them with 
food. The sprig we have given, is a genuine Honiton pattern, and can be worked 
to produce an effect very similar to the real lace. In doing so, we should trace 
the pattern on a rather coarse cambric, and sew it round with a fine linen thread 
leaving the cambric between the lines. The cambric has a much better effect 
than any muslin. All the open part must be filled in with lace stitches. If a 
real Honiton sprig can be referred to, while working, it will enable the imitation 
to be very close. These sprigs can, when completed separately, be arranged on 
a Brussels net, either in the shape of a collar, sleeves, veil, or any article which 
may be selected. A still greater similarity is produced, if they are joined to- 
gether, and filled in with a lace stitch, without any net being used at all for the 
ground. The most beautiful material for this sort of work, is Messrs. Walter 
Evans & Co.'s Persian thread 



KNITTING. 



To attempt to enumerate the many articles which can be made by knitting, 
would be useless, as volumes might be written without exhausting the subject, 
and its advantages, both of use and ornament, are almost as inexhaustible. 

Knitting can truly be called the friend of the aged and blind ; the fingers sup- 
plying the want of eyesight, and solacing many weary hours which otherwise 
would be tedious to bear. It gives employment to the poor, amusement to the 
rich, and supplies to all something in the way of garments, either useful or orna- 
mental. 

The beautiful shawls, so fashionable of late years, are many of them knit by 
ladies, in their moments of leisure ; and caps, comforters, tippets, gaiters, shoes, 
&c, are made in vast quantities, either for money or for gifts to friends. 



KNITTING. 



149 



In ornamental knitting, with silk and beads, the number is almost as great as 
for purely useful articles. 

The implements necessary, are different sizes of needles, called knitting 
needles, and cotton, wool, or silk, as desired. 

The position of the hands is important in learning to knit, either to be a 
rapid or elegant knitter ; but practice alone will enable a person to become a 
thorough proficient. 




Fig. 1. The first process in casting on. — Hold the end of cotton between 
the first and second fingers of the left hand, twist it over the thumb and fore- 
finger, and bend the latter to twist the cotton into a loop ; bend the needle in 
the loop ; hold the cotton, attached to the reel, between the third and little fin- 
gers of the right hand, and over the point of the forefinger ; bring the thread 
round the needle, by the slightest possible motion ; bend the needle towards you, 
and tighten the loop on the left hand finger, in letting it slip off to form the 
first stitch. 



150 KNITTING. 

Fig. 2. Now take that needle with the loop on it, in the left hand, and ano- 
ther in the right. Observe the position of the hands. The left hand needle is 
held between the thumb and the second finger, leaving the forefinger free, to 
aid in moving the points of the needles. This mode of using the forefinger, in- 
stead of employing it merely to hold the needle, is the great secret of being able 
to knit without looking at the work; for so extremely delicate is the sense of 
touch in this finger, that it will, after a little practice, enable you to tell the 
sort of stitch coming next, in the finest material, so that knitting becomes 
merely mechanical. The engraving indicates the mode in which the right hand 
needle should be held. Insert the point in the loop, bringing it behind the 
other needle, slip the thread round it, bring the point in front, and transfer the 
loop to the left hand needle, without withdrawing it from the right hand. Re- 
peat the process for any number of stitches required. 

Fig. 3. Plain Knitting. — Slip the point of the right hand needle in a loop, 
bring the thread round it, and, with the forefinger, push the point of the needle 
off the loop, so that the thread, just twisted round, forms a new one on the right 
hand. 

Fig. 4. Purling. — The right hand needle is slipped in the loop in front of 
the left hand one, and the thread, after passing between the two, is brought 
round it ; it is then worked as before. The thread is always brought forward 
before beginning a purled stitch, unless particular directions to the contrary are 
given. 

Fig. 5. The mode of making stitches. — To make one, merely bring the 
thread in front, before knitting, when, as it passes over the needle, it makes a 
loop ; to make two, three, or more, pass the thread round the needle in addition, 
once for two, twice for three, and so on. 

Fig. 6. To decrease. — Take one stitch off without knitting ; knit one, then 
slip the point of the left hand needle in the unknitted stitch, and draw it over 
the other. To decrease two or more, slip one, knit two, three, or more to- 
gether, as one, and pass the slip-stitch over. 

Fig. 7. The wag to join a round. — Four or five needles are used in round 
work, such as socks, stockings, &c. Cast on any given number of stitches on 
one needle, then slip another needle in the last stitch, before casting any on it ; 
repeat for any number. When all are cast on, knit the first two stitches off on 



KNITTING. 



151 



to the end of tne last needle. One needle is always left unused in casting on 
for a round. 

Fig. 8. The way of joining the toe of a sock, or any similar thing. — Divide 
all the stitches on to two needles, hold both in the left hand as if they were one, 
and in knitting, take a loop off each one, which knit together. 

Fig. 9. To cast off. — Knit two stitches ; with the left hand needle draw 
the first over the second ; knit another ; repeat. Observe that the row before 
the casting-off should never be very tightly knitted. 

Fig. 10. This shows the mode of knitting three stitches together, so that 
the centre one shall be in front. Slip two off the needle together ; knit the third, 
and draw the others over together. 

To raise a stitch, is to knit the bar of thread between the two stitches, as 
one. 

SPECIMENS OF KNITTING. 




TURKISH SLIPPER. 



BOOK CUSHION IN ORN^ KNITTING. 

Materials. — One ball of No. 16 Orae" knitting wool ; No. 11 knitting pins ; 
one-half ounce shaded amber ; one-half ounce of deep claret Berlin wool. No. 
2 Penelope Hook ; 1 yard of twilled colored lining ; two-thirds yard of claret- 



152 



KNITTING. 



colored cotton or silk velvet ; as much bran as will stuff the cushion hard, 
silk gimp or worsted bullion fringe to match, and four tassels. 



Some 




BOOK CUSHION IN ORNE KNITTING. 



The Orae* knitting ball consists of beautifully colored threads of fine wool 
knotted at equal lengths ; each knot terminating one row ; and this, when knit- 
ted up, produces the engraved elegant design, which is twenty-two inches long 
by seventeen broad. 

With the claret Berlin wool cast on 140 stitches, then join on the Orne knit- 
ting ball, and knit it in moss-stitch, thus : 

1st Mow. — Slip 1. Knit and pearl each stitch alternately. 

2nd. — Slip 1. Pearl and knit alternately. 

Observe that the stitch which was pearled, must in the next row be knitted, 
and always slip the first stitch. By continuing this from knot to knot the de- 
sign will work itself out ; but should the thread of wool be too long or too short, 
tighten or slacken the preceding stitches, with a pin, or the finger and thumb, 
but .invariably bring the knot to the edge. When the ball is knitted up, with the 



KNITTING. 



153 



claret wool work a row of Dc all round, making three stitches into each corner 
stitch of the knitting. Then, with shaded wool, work a row of double L stitches 
all round. These are made by twisting the wool twice over the hook ; ivork 
three stitches into every stitch at the corner. Then, with claret wool, work another 
row ; damp the knitting, pull it, and lay it between linen clothes under a heavy 
weight. Now make up the cushion, and trim it as in engraving. This work 
will wash and look equal to new, by mixing a little ox-gall with a little curd 
soap lather, and washing it in the ordinary way, spreading it out to dry, and 
turning it frequently. 





KNITTED SHOE. 



KNITTED STOCKING. 



EXPLANATION OF TERMS USED IN KNITTING, AND HINTS ON 

KNITT ING . 



To cast on — The first interlacement of the cotton on the needle. 
To cast off— to knit two stitches, and to pass over the second, and so on to 
the last stitch, which is to be secured by drawing the thread through. 
To cast over — to bring the cotton forward round the needle. 



154 KNITTING. 

To narrow — to lessen by bringing two stitches together. 

To seam — to knit a stitch with the cotton before the needle. 

To widen — to increase by making a stitch, bringing the cotton round the 
needle, and knitting the same when it occurs. 

A turn — two rows in the same stitch, backwards and forwards. 

To turn — to change the stitch. 

A row — the stitches from one end of the needle to the other. 

A round — a row when the stitches are on two, three, or more needles. 

A plain row — that composed of simple knitting. 

To pearl a row — to knit with the cotton before the needle. 

To rib — to work alternate rows of plain and pearl knitting. 

To bring the thread forward — to bring the cotton forward so as to make an 
open stitch. 

A loop stitch — made by bringing the cotton before the needle, which in knit- 
ting the succeeding stitch, will again take its own place. 

To slip or pass a stitch — to change it from one needle to the other without 
knitting it. 

To fasten on— the best way is to place the ends contrariwise, and knit a few 
stitches with both together. 

To take under — to pass the cotton from one needle to the other without 
changing its position. 

Pearl, seam, and rib-stitch are the same. 

Be careful in knitting to have the cotton or wool of a moderate tension — not 
too loose, nor too tight. 

When it is requisite to cast off, and continue a row on a separate needle, run 
a coarse thread through the cast off stitches, as they are easily taken up when 
required. 

It is a good plan to have children taught to knit, boys as well as girls, and to 
have them learn to knit without looking at their work. Old ladies who have lost 
their sight often knit very beautifully, and as a general rule we find that they 
began very young, and learned to knit without giving their work steady atten- 
tion. The blind in all Asylums are beautiful knitters, and in case of any acci- 
dent to the eyesight it would be a great resource, as well as when deprived of 
sight by old age. 



KNITTING. 155 

Knitting needles vary in size and in length. For small articles the short ones 
are most convenient. They are made of steel, bone, ivory, or wood, and you 
purchase such sizes as agrees with the work you have to do. In all large trim- 
ming stores where this kind of material is kept, they will tell you the best sizes, 
if you are ignorant yourself. 

Here is a cut of a gauge for measuring needles for knitting and netting 
meshes, and for crochet needles. 




WIRE GAUGE. 



OPERA CAP 



These caps look the prettiest when of two colors. The material is single Ber- 
lin wool. Scarlet and white contrast extremely well. To commence, cast on 
seventy-two loops on the smallest sized ivory needles, with the scarlet wool ; knit 
and purl until you have five rows knitted on the right side ; this forms one stripe. 
Take the white wool and repeat this, only reversing the stripe, continue this 
process until you have nine stripes, purled and knitted alternately ; five of the 
scarlet, four of the white. Before casting off prepare as follows : take the first 
loop upon your needle, drop the second, take the third, and so on to the end of 
the row, taking care to avoid any mistake, which would be the ruin of the whole. 
The first and the last loops must of course be preserved. You will now have 
just half the original number of loops upon your needle. Cast off, leaving the 
wool very loose. Afterwards assist the dropped loops to run down. This makes 
a very simple but very pretty stitch in knitting. 

The fringe is now to be added, which is done by looping lengths of wool 



156 



KNITTING. 




OPERA CAP. 



KNITTING. 157 

through the stitches just cast off, and slipping the ends through the loop, so as 
to form a knot. 

The ends of the knitted pieces are now to be gathered up with a needle, the 
ribbon string attached, a pretty rosette of the same sewed on over the gather- 
ing up, and this useful little article is completed. 

FOUR BEAUTIFUL PATTERNS 

Of Lace Edgings, for Collars, Dresses, §c. 

By means of the following directions, every lady can provide herself with lace 
edgings of the most durable kinds, and without either much expense or trouble. 
These laces, when knit with fine thread and small needles, are exceedingly 
pretty. When they are intended for common wear, or to trim the bottom of 
petticoats, they should be knit with needles of the ordinary size, and coarse cot- 
ton. They wash well, and wear a long time. After a little practice, a great 
facility in knitting them is acquired, and the work progresses with a rapidity 
which young beginners are apt to despair of obtaining. 

Cast on 8 stitches. — 1st row. — take off the first stitch without knitting it, 
knit plain the 2 next, lap in the thread once, take off 1 stitch, knit 1, slip and 
bind, knit 1, lap in the thread twice, knit 1, lap in the thread twice, knit 1. 

2nd row, — knit plain 2 stitches, seam 1, and put back your thread, knit 2, 
seam 1, and put back your thread, knit 2, seam 1, and put back your thread, 
knit 3. 

3d row, — take off the first stitch, knit 2, lap in the thread, take off 1, knit 1, 
slip and bind, knit the rest. 

4th row, — knit the two first, slip and bind, knit, and slip and bind, until only 
7 stitches are on the left hand needle, and one on the other, knit 3, seam 1, and 
put back your thread, knit the rest. 

Cast on 11 stitches. — 1st row, — take off the first stitch, knit 2, lap in the 
thread, take off 1, knit 1, slip and bind, knit 1, lap in the thread, take off 1, knit 1, 
slip and bind, knit 1, lap in thread twice, knit 1, lap in the thread twice, knit 1. 

2nd row, — knit 2, seam 1, and put back your thread, knit 2, seam 1, and put 



158 KNITTING. 

back your thread, knit 2, seam 1, and put back your thread, knit 2, seam 1, 
and put back your thread, knit 3. 

3rd row, — take off 1, knit 2, lap in the thread, take off 1, knit 1, slip and 
bind, knit 1, lap in the thread, take off 1, knit 1, slip and bind, knit the 
rest. 

4th row, — knit 2, slip and bind, knit, and slip and bind, until only 10 
stitches are on the left hand needle, and one on the other, knit 3, seam 1, and 
put back your thread, knit 2, seam 1, and put back your thread, knit the 
rest. 

Cast on 11 stitches. — 1st row, — knit 3, make 1, narrow 1, knit 1, make 1 , 
narrow 1, make 2, narrow 1, knit 1. 

2nd row, — knit 3, seam 1, and put back your thread, knit 2, make 1, narrow 
1, knit 1, make 1, narrow 1, knit 1. 

3rd row, — knit 3, make 1, narrow 1, knit 1, make 1, narrow 1, knit 4. 

4th row, — knit 2, slip and bind, knit 4, make 1, narrow 1, knit 1, make 1. 
narrow 1, knit 1. 

Cast on 7 stitches. — 1st row, — take off 1 stitch, knit 2, lap in the thread 
once, narrow 1, lap in the thread twice, narrow 1. 

2nd row, — make 1 stitch, knit 2, seam 1, put back your thread, knit 1, lap 
in the thread once, narrow 1, knit 2. 

3rd row, — take off 1, knit 2, lap in the thread once, narrow 1, lap in the 
thread twice, narrow 1, lap in the thread twice, narrow 1. 

4th row, — make 1, knit 2, seam 1, and put back your thread, knit 2, seam 1, 
and put back your thread, knit 1, lap in the thread once, narrow 1, knit 2. 

5th row, — take off 1, knit 2, lap in the thread once, narrow 1, knit 7. 

6th row, — knit 8, lap in the thread once, narrow 1, knit 2. 

7th row, — take off 1, knit 2, lap in the thread once, narrow 1, lap in the 
thread twice, narrow 1, lap in the thread twice, narrow, lap in the thread twice, 
narrow 1, knit 1. 

8th row — knit 3, seam 1, and put back your thread, knit 2, seam 1, and put 
back your thread, knit 2, seam 1, and put back your thread, knit 1, lap in the 
thread once, narrow 1, knit 2. 



KNITTING. 159 

9th row, — take off 1, knit 2, lap in the thread once, narrow 1, knit 10. 
10th row, — knit, and slip and bind 8, leaving 6 on the other needle, then 
knit 2, lap in the thread once, narrow 1, knit 2. 



a baby's sock. 

With 2 coloi's done in stripes, and double Gf-erman lamV s-ivool. 

Cast on 26 stitches, knit a plain row with the first color, fasten on the second, 
knit a row, adding a stitch at the end for the heel, and back again ; then take 
the first color, knit a row, adding another stitch, and back again ; continue the 
same, alternately, but without adding any more stitches for the heel, until there 
are 6 ridges of each color ; then with the first, knit a row, and in coming back, 
cast off 15 stitches, beginning from the end at which you added two stitches, 
knit the 13 that are left ; with the second color, knit a row and back again, then 
knit a row and back again with the first, and continue the same until you have 
four ridges of the second, and three of the first color : then with the first color 
knit the 13 stitches, add 15, and knit back again. Finish this side like the 
other, only decreasing for the heel. It is then sewed up in the shape of a shoe. 
Take four needles, pick up the 36 stitches round the instep, putting 12 on each 
of three needles, and knit two rounds plain, then pass the lamb's-wool forward, 
so as to form a stitch, slip a stitch, and knit two plain, then pull the 
slipped stitch over the 2 knitted ones, pass the lamb's-wool forward, and repeat 
this for one round, continue plain knitting for an inch ; after that, rib 4 rows, 
knit 4, rib 4, knit 2, and cast off. 

baby's socks. 1st size. 
Two ivory needles, No. 12, and S-ply fleecy are required. 

Cast on 24 stitches ; knit two plain rows, add one stitch ; knit 2 more rows 
and add another stitch which forms the heel ; then continue knitting until you 
can count 10 ridges ; cast off 14 stitches, beginning from where you added on 
for the heel : knit 6 more ridges, add on 14' stitches, and make this side to 
match with the other, decreasing for the heel. Pick up the 14 loops on each 
side, and the 6 in the middle, and put them all on one needle : knit a plain row, 



160 KNITTING. 

then a row of holes for the ribbon to pass through, which is done in this 
manner : — begin with the lamb's-wool forward, slip a stitch, knit the next, and 
pass the slipped stitch over the knitted one ; after this row is finished, knit 8 
ridges. 

FRINGE. NO. 1. 

A skein of knitting cotton must be cut into 8 lengths for the fringe ; or, if 
you wish your fringe to be very deep, cut your skein into 4 or 6. The most 
convenient way, is to divide these lengths into sets containing 3 threads in 
each, and lay them before you, then with a ball of the same cotton, and two 
steel needles, which should be rather coarse, cast on 8 stitches, and knit 1 row 
plain ; begin the next row by knitting the 2 first stitches plain, bring the cotton 
forward, knit 2 stitches taken together, by this means you make a loop 
stitch ; take 1 of the sets of cotton, put the ends even, double it in half, and 
loop it over the needle you are knitting with, forward ; knit 1 stitch, pass the 
set back between the needles, knit 2 stitches, bring the set forward again, and 
knit the last stitch. The back rows are plain knitting ; you must be careful to 
take the whole head of the set with the 4th stitch, which leaves 4 to be knit- 
ted plain, and you have 8 as at the beginning ; after finishing this row, give the 
set or tuft a pull down, which puts it in its right place, before beginning an- 
other. 

fringe. No. 2. 

Cast on 9 stitches. Slip the 1st stitch, knit the 2nd and 3rd, bring the 
thread forward, knit 2 together, knit 1, turn the thread forward, knit 2 toge- 
ther, knit the last. When you have the length you want, cast off 5 stitches, 
and unravel the 4 others, which form the fringe. 

This fringe may be made wider, by casting on 12 or 15 stitches. 

HERRING-BONE PURSE. 

Two needles only are required for this knitting. 
Cast on 88 stitches, begin with the silk forward, slip a stitch, knit a stitch, 



KNITTING. 161 

pass the 1st over the 2nd, knit a stitch, bring the silk forward, and rib the next. 
When this is done, the silk will be forward ; begin again. 

If the purse be required to be longer, cast on as many stitches as are neces- 
sary, observing that it must be a number which can be divided by four. 

A STRONG PURSE. 

"With 2 steel needles and coarse netting silk, cast on 60 stitches, knit the first, 
bring the silk forward, slip a stitch, knit the next, and pull the slipped stitch 
over the knitted one, bring the silk forward and begin again. The second row 
is simple knitting. 

PORCUPINE KNITTING FOR A PURSE. 

Four fine needles, nearly 3 skeins of netting silk, and one string of gold beads 
are required. Thread some of the beads on the silk, before you begin. 

Cast 36 stitches on each of 3 needles, knit a plain round ; knit 4 stitches, 
bring the silk forward, knit a stitch — this is the centre stitch of the pattern — 
bring the silk forward, knit 4 stitches, slip a stitch, taking it under, knit 2 
taken together, pull the slipped stitch over it, then begin knitting the 4 stitches, 
&c. ; it is better at the end of each needle to knit a stitch of the next one, as it 
prepares for the next round. Continue thus for 6 rounds, increasing before and 
after every centre stitch, and knitting till within 1 of where you decreased, 
which stitch slip, knit the next 2 together, and pull the slipped stitch over it. 
Knit a plain round. Knit another round plain, excepting over the centre 
stitches, where you are to knit a bead, bringing it through the stitch. Knit a 
plain round, keeping the beads on the outside of the purse. (This purse is knit- 
ted wrong side outwards.) Knit to within one stitch of the bead stitch, which 
slip ; knit 2 together : these 6 rounds increase each side of the stitch you de- 
creased with m the last pattern, which makes that the centre stitch for the 
bead. 

It is easy to count the number of rounds you have done, at the place where 
you decreased. 

This pattern is very pretty for a boa, knitted with German lamb's-wool, and 
needles No. 15. 
11 



162 KNITTING. 

SPOTTED PURSE. 

Cast on 69 stitches ; take off the first stitch, bring the silk forward, slip a 
stitch, knit 2, pass the slipped stitch over the 2 last, repeat this to the end of 
the row. The back rows are ribbed. 

This pattern is very pretty in two colors, changing them every 2 rows. 

ANOTHER PURSE. 

First row : slip a stitch, knit a stitch, pass the first stitch over the second ; 
repeat this to the end of the row. Second row : bring the silk forward every 
time. 

This is a very pretty stitch for d'oyleys, with a plain border. Any even 
number of stitches may be set up. 

A NET PURSE IN POINTS. 

Fifty stitches long, and 80 rows wide, of a middle-sized silk and mesh. Net 
31 stitches, with one color, and back again ; then 28, 25, 22, 19, and back 
again to each ; then with the other color, begin at the distance of 19 stitches, 
and net until you meet the side already done : pass the needle through the stitch 
to connect them. Half a point is now done, you reverse the number of stitches 
to complete it. 

It is also very pretty if the points are made longer, say 45 stitches, decreas- 
ing by four stitches every other row, until you leave only 5 for the other 
point. 

CORKSCREW NETTING FOR A PURSE. 

Two different colored silks are required, for instance, brown and blue ; 1 mesh, 
and 2 needles ; thread each of the needles with one color. A round founda- 
tion, consisting of 60 stitches, should be used. 

Join both needles on together, net with the brown 30 stitches, then begin 
with the blue and net the other 30 stitches ; net the blue silk bach, and continue 
it over 6 stitches of the brown ; now take the needle with brown, pass it through 
the blue stitch, and net till you meet the needle with blue, turn back (still with 
the brown silk) and net round till you have gone over 6 blue stitches ; net with 



KNITTING. 163 

blue again, passing the needle through the brown stitch ; continue thus advanc- 
ing each color 6 stitches at one side, and receding at the other, till the purse 
is one-third long enough, then begin the opening, which is made by omitting to 
pass the silk through the stitch at one place ; the pattern you must carry on as 
before, for which you will be obliged to fasten on your silk to fill up where you 
recede. 

b'oyleys. 
Tivo needles are required. 

Cast on 86 stitches, knit a row of two stitches plain, and two ribbed. In the 
2nd row, rib the stitches that were plain in the first row, and knit plain those 
that were ribbed. In the 3rd row, rib the stitches that were ribbed in the last 
row, and knit plain those that were knitted plain. 4th row, rib the plain 
stitches and knit the ribbed ones. Repeat these four rows five times. 2nd 
pattern in the d'oyley, continue the first pattern for 10 stitches, then knit, put- 
ting the cotton twice round the needle, every stitch, until you have only 10 left 
on the needle, knit them like the 10 first ; these 10 stitches on each side, form 
the border, and are always the same pattern ; knit the next three rows plain, ex- 
cept the border ; then repeat the first row of this pattern ; knit 3 rows ; the border 
as before. 3rd row, begin with the cotton forward, knit two in one, bring the 
cotton forward, &c, until you come to the border again ; knit 3 plain rows, re- 
peat these 4 rows 3 times, and begin the 2nd pattern again ; continue these two 
patterns alternately, until the d'oyley is nearly square, then finish with the 
same width of border as at the top. 

For this knitting, your cotton and needles should be rather fine. 

N. B. Many of the patterns given as purse stitches, are very pretty for 
d'oyleys, with a border either of plain or fancy knitting. 

S A V E-AL L B A G. 

Four coarse needles are required. This hag is so called, because it may be 
made with odds and ends of netting silk, or all of one color, at pleasure. 

Cast 40 stitches on each of 3 needles ; knit one plain round ; then knit one 
stitch, bring the silk forward, knit a stitch, thus forming a loop-stitch in addi- 



164 KNITTING. 

tion to the original number, knit a stitch, bring the silk forward, and continue 
as before for the whole round. Next round, knit a stitch, bring the silk for- 
ward, knit two stitches (the loop and that next it) together ; knit a stitch, bring 
the silk forward, and knit two together, until the bag is long enough. 
This bag looks well with a clasp, and a tassel at the bottom. 



MOSS-STITCH, TO MAKE A THICK BAG 
Two needles are required. 

Moss-stitch can be done with any even number of stitches. Take off the first 
stitch, pass the cotton forward, rib a stitch, pass the cotton back, and knit one 
plain, pass it forward, rib a stitch, pass it back, and so on to the end of the row. 
In the second row, rib and knit alternate stitches. It may be knitted either 
with four or two needles. 

DOUBLE KNITTING. 

For double knitting, you may cast on any even number of stitches ; bring the 
thread forward, slip a stitch, pass the thread back, knit a stitch, putting the 
thread twice round the needle. This repeated, forms the pattern. 

You will find, in the next row, you take off the knitted stitch. Should you 
prefer beginning with a knitted stitch, pass the thread but once round the 
needle in every first stitch, as this will form a firmer edge. 

DOUBLE BLANKET. 

This blanket is very light and warm. Two large ivooden pins are required. It 
takes 2 pounds and a half of lamb' s-wool to make one 4 feet wide and 5 
long. 

Put on 250 stitches, knit 10 simple rows ; then begin and end each row with 
6 stitches in plain knitting ; the rest of the row is double knitting, putting the 
wool twice round the pin. The border is frequently made of a different color 
from the middle ; in this case, the two balls of wool are passed once round each 
other, so as to loop the wool every time. 



KNITTING. 165 

A gentleman's COMFORTER. DOUBLE KNITTING. 
Two coarse steel needles are necessary, and 5 skeins of fine knitting yarn. 

Cast on 72 stitches ; knit the first stitch, putting the yarn only once round 
your needle, bring the yarn forward, slip a stitch, pass the yarn back again, 
knit a stitch, passing the yarn twice round the needle ; continue knitting in dou- 
ble knitting with the yarn twice round the needle, until the comforter is long 
enough. In the last row, before you cast off, the yarn should be passed round 
the needle only once. Small comforters, to cover the chest in riding, are made 
in the same way. ' 

A COMFORTABLE COMFORTER. 

Cast on 50 stitches ; knit 44 turns plain knitting, decrease one stitch in five, 
until you have only 40 in the row ; knit 6 turns, then decrease again 10 stitches 
in the row ; knit 18 turns, increase 10 stitches in the row ; knit 6 turns, in- 
crease 10 stitches in the row ; knit 44 turns, and cast off. 



DOUBLE KNITTED SHAWL. 

Begin with one stitch ; increase a stitch every other row, which will make one 
side slant ; knit plain knitting until you have 9 stitches, 7 of which are for the 
border ; these are knitted in plain knitting throughout ; with the other stitches 
begin double knitting, as before. When your shawl is nearly large enough, 
knit a few rows of plain knitting, to correspond with the border on the other 
side. 



DOUBLE KNITTED SHAWL, WITH COLORED BORDER. 

This shawl is knitted in precisely the same way as the one above, except that you 
begin with the color you mean to have for the border : when you have 7 stitches, 
you must pass the white round it and knit in the end. Every time you come to 
the border, you pass the colored and white lamb's-wool round each other, thus 
looping them together. 



166 KNOTTING. 

PINCUSHION COVER. LEAF PATTERN. 

This pattern is knitted with 4 needles, No. 18. 

Cast 45 stitches on each of 3 needles (15 being required for each stripe). First 
round, begin with the cotton forward, purl 2 stitches, pass the cotton back, knit 
one, taking it at the back, purl 2, pass the cotton back, slip one stitch, knit one, 
pull the slipped stitch over the knitted one ; knit 6, bring the cotton forward, 
knit one, this increases two loop-stitches ; repeat this all round. You will find 
you have increased 1 stitch in every 15. 2nd round ; begin with the cotton 
forward, purl 2 stitches, knit one, taking it at the back, putl 2, slip one, knit 
one, pull the slipped stitch over the knitted one, knit plain until you come to 
the next purl stitches, and continue as before. In this, and every alternate 
round, no loop-stitches are to be made, but the purled stripes and the decrease 
to be done as before, which will reduce the stitches to the original number. 
Knit these rounds alternately, making the 2 holes (which occur in every alter- 
nate round) one stitch sooner each time, i. e., knitting 5, then 4, then 3, then 2, 
then 1, instead of six stitches, as mentioned in the first round. You will then 
have six rows of holes, which completes the leaf, and you will find the holes 
brought to the side of the stripe opposite to that on which they began ; you 
must then begin again as at first. 

Nine rounds of leaves complete a pincushion. 



KNOTTING. 

This is so little used that a description seems almost unnecessary. When 
common, it was used for nearly the same purposes as crochet work is now, but 
the material generally was fine whip-cord. Crochet cord and coarse silk can 
be used. 



LACE WORK. 167 



LACE-WORK. 



This is similar to darning, on a foundation of bobbinet lace, but is not much 
in request, as nearly all manufactures of lace can be bought at moderate prices. 
Imitations of the more costly laces may repay for the trouble, and beautiful sam- 
ples of Honiton Lace in Crochet are made. (See Honiton Lace in Crochet, 
page 146.) 

If edgings are worked, they must be done with very fine cotton and a purling 
sewed on the edge. Some imitations of the Applique" Point are very pretty. 
Very beautiful lace veils used to be worked by ladies, in Tambour and other 
stitches, but that kind of veil is not worn at present. 

The knitted lace edges and collars are extremely pretty and useful, and have 
the merit of wearing extremely well. This makes them very suitable for chil- 
dren's clothes, under-garments, pillow-case trimmings, &c. 

The different kinds of lace used for working on, are called Net. Bobbinet, of 
different kinds, Brussels net, Filet, and Guipure Nets are the principal. 

Swiss Lace is the name given to the kind of work which is done on lace 
foundation in muslin patterns. The Swiss embroidery is most beautiful, and 
Mr. Bryant* speaks in great praise of this department of Swiss industry, of 
which he saw some superb specimens in his recent visit to the exhibition at Berne. 
He says, on one of the samples " the maidens of Appenzell had embroidered 
their Jungfrau on an immense curtain of white muslin. Another from the can- 
ton of St. Gallen, had flowers in high relief, the petals raised from the muslin 
and turning back against it, as in a carving. In other samples are flowers and 
fruits ; others were of an architectural design, intermingled with graceful human 
figures. There are in Appenzell and St. Gallen six thousand persons who live 
by this sort of needle work." 

There are .a great variety of stitches, under different names used in lace work, 
and imitations are made of other laces besides Point ; such as Brussels, English, 
Valenciennes, Point Applique*, Swiss Lace, &c. 

* Letters from Spain, by W. C. Bryant. D. Appleton and Co., 1859. 



168 MARKING. 

MUSLIN WORK. (See Embroidery.) 

For Broderie Anglaise, a very fine long cloth, or the same material of which 
the garment is made, jaconet, linen, &c, are used. 

For fine embroidery, such as collars, sleeves, &c, fine French muslin is used. 
For Swiss lace work and Applique", a close but clear muslin should be chosen. 
For pocket handkerchiefs, fine linen cambric is the only suitable article, and it 
is much the best also for infant's caps, shirts, &c. 



MARKING IN EMBROIDERY, INK, AND COLORED COTTON. 

One of the accomplishments which every lady should learn and try to excel 
in, is the ability to mark well in Indelible Ink. Clothes of every kind, and par- 
ticularly handkerchiefs, are constantly in danger of being lost ; and there is no 
security so great against their total loss, as an intelligible mark. An embroi- 
dered wreath with the name in ink is very handsome, and so is one all embroi- 
dered. The stitch used in embroidery is the same as for any fine muslin work. 
After acquiring the necessary knowledge for marking in ink, a little careful prac- 
tice will enable a lady to copy any beautiful embroidery pattern in ink, even to 
close the shading with the pen. Embroidered handkerchiefs look very beautiful 
when the corner containing the name is marked in ink with a corresponding de- 
sign, for instance, the embroidery may contain roses, pinks, &c, or a set pat- 
tern of block work or scrolls. If the corner containing the name is marked to 
correspond, it makes the handkerchief very elegant. The name can be written 
in the leaf or in the flower. 

We have used an Indelible Ink prepared by Mr. Blair, corner of 8th & 
Walnut streets, Philadelphia, for several years ; and never had it wash out or fade, 
and it is free in the pen, never blotting the article. The directions are on each 
bottle, and carefully followed the result is always good. Some inks wash out di- 
rectly, and some (from some injurious ingredient) cause the place to become so ten- 
der that it washes into holes, and in one instance we had a very elegant handker- 
chief in which the place containing the mark, came entirely out in the first washing. 



MARKING. 



169 



It is best to practice on ordinary material before trying a fine handkerchief, 
as thin material is harder to mark than a close one. 

Ladies wishing to mark very neatly in Indelible Ink will find this a very easy 
way. After having wet and thoroughly dried the article, with the preparation, 
iron it very smoothly. Lay it on a flat smooth surface, and place on it a sheet 
of Impression Paper, (sold by the sheet in many colors,) then place over the pat- 
tern you wish to copy, and carefully trace over every part with a moderately 
sharp instrument ; the eye end of a bodkin is good. After tracing the pattern, re- 
move the paper, and proceed to mark it over with ink. Lay it in the sun for a 
day or two, and then wash it. The same process of copying is very good for 
embroidery of any kind, when the patterns are not very large. 

Some persons prefer a goose or crow quill to mark with, but a first-rate steel pen 
answers very well, provided it is kept very clean, and not used with common 
writing ink. 

Stockings, from the inequality of the surface, are hard to mark well ; and for 
that use and for coarse towels, the stamps which are sold are very useful, if you 
are fortunate enough to procure good printing ink. Some of it. washes out di- 
rectly, and some is so thick that it inevitably blots the article. The types are 
arranged for any name chosen, or the name can be set up in type, and mounted 
at a foundry like any other plate. They are convenient, but not elegant enough 
for fine articles. 

Marking in fine colored cotton has been fashionable, and is very pretty. It 
is done in cross-stitch, or chain-stitch, and requires great neatness to make it 
ornamental. In selecting cotton for this use, subject it to a thorough boiling to 
see if the colors will stand. 

The patterns given will most of them be equally suitable for embroidery or 
marking in ink. 



SPECIMENS OF MARKING 




EMBROIDERY IN COLORED COTTON. 



170 



MARKING. 




A 



<J> 



EMBROIDERY IN SATIN-STITCH. 




utaik 



EMBROIDERY IN COLORED COTTON. 



SOPHIA) 



DONE IN SATIN-STITCH. 




DONE IN COLORED COTTON. 




DONE IN INK, OR SATIN-STITCH. 



MARKING. 



171 




DONE IN INDELIBLE INK, OR SATIN-STITCH. 




DONE IN INK, OR SATIN-STITCH. 




DONE IN INK, OR SATIN-STITCH. 



172 



MARKING. 















DONE IN SATIN STITCH. 



HOSA 



DONE IN INK, OR EMBROIDERY. 




DONE IN INK. 




%w 





DONE IN INK. 



MARKING. 



173 




DONE IN INK. 




DONE IN INK. 





DONE IN INK. 



DONE IN INK. 




'O 



174 



MARKING. 




BONE IN EMBROIDERY, SATIN-STITCH, EYELETS, AND LAOE WORK. 







DONE IN RICH EMBROIDERY, AND THE NAME IN INK. 




DONE IN EMBROIDERY. 



MARKING. 



175 





EMBROIDERY IN SATIN-STITCH. 






EMBROIDERY IN SATIN-STITCH. 



mt 8€U. 



DONE IN INK, OR EMBROIDERY. 



176 



MARKING. 




EMBROIDERY IN SATIN-STITCH. 




DONE IN INK, OR EMBROIDERY. 



NETTING. 



177 




EMBROIDERY IN SATIN-STITCH. 



NETTING. 

Netting, as well as Point Lace, has the merit of antiquity to add to its- 
present popularity; netting, being known and practised by the Egyptians,, 
three thousand years ago. It is also as familiar to the rude fisherman, as 
to the accomplished lady. The making of nets furnishes employment to a. 
great many persons, male and female, particularly those in the vicinity of 
the ocean. Twine is the material used for fishing nets, the plain stitch being 
the same as for fine netting. Knitted sleeves of zephyr, ending at the wrist,, 
with a deep ruflie of Netted wool, with a little floss silk mingled, make very 
pretty, warm and useful sleeves for winter wear. They are prettier in pure 
white, than in colors. 

The implements necessary for this elegant branch of needle-work, are a net- 
ting needle, and a mesh. 

Tie material is silk, cotton, wool, twine, &c. The process of netting is not 
easy to describe, but a little practice will make a lady an accomplished worker. 
The variety of stitches are very great and some are much more complicated 
than others. Some of the names are as follows : 
12 



178 NETTING. 

PLAIN NETTING. 

The netting needle must be threaded with the material, and fastened by a 
knot to the long loop before spoken of, and the mesh must be held up as close 
as possible to this knot under the twine. The silk is to be held in the right 
hand, between the forefinger and the thumb, and must be passed under and 
around the left hand, so that the material may be formed into a slack loop, pass- 
ing over all the fingers, except the little one. In this position, the silk must be 
held between the upper side of the mesh and the left hand thumb, and the 
needle must be passed back, round the pin or mesh, allowing the material to 
form a larger loop, so as to include the little finger. The needle will thus be 
brought round, in front of the mesh, and must pass under the first loop, between 
the mesh and the fingers, and thus through the loop called the foundation loop, 
and thence over that portion of the material which goes backward, for the pur- 
pose of forming the second loop. The needle must be kept in its position, till 
the right hand is so brought round as to be able to pull it through ; and then' 
the needle being drawn out and held in the right hand, the worker must disen- 
gage all the fingers of the left, except the last, which is to retain its hold of the 
second loop, which was formed by passing the material round it. By means of 
this hold, retained by the little finger, the material is to be drawn to the mesh, 
and the knot thus formed, be drawn tight to the foundation. This process is to 
be repeated, until a sufficient number of stitches are formed as are necessary, 
according to the width of the net desired. As the mesh is filled, some of the 
loops must be suffered to drop off; and when the row is completed, it must be 
drawn out, and a row of loops will be found suspended from the foundation, by 
their respective knots, and moving freely onwards. The work is then to be 
turned over, which will cause the ends of the rows to be reversed ; and in net- 
ting a second row, it will be done as before, from left to right. In commencing 
the second, and all the succeeding rows, the mesh must be so placed as to come 
up close to the bottom of the preceding row or loops, and the former process 
with the needle must be repeated. It will be needful to have a sufficient quan- 
tity of material always wound on the needle, or otherwise it will not move freely 
round, as it is indispensable it should do. 



NETTING. 



179 



GRECIAN NETTING. 

This should be worked with fine silk, and with two meshes, 
Nos. 9 and 18 ; one plain row is to be netted with the large 
mesh, and then in the next row employ the small one. The 
silk is twisted round the fingers as in plain netting, and the 
needle must pass through the finger loop into the first stitch, 
and thence into the second. Then let the second be drawn 
through the first, and the first through the second, finishing 
the stitch by releasing your fingers and pulling the material tight. The suc- 
ceeding stitch is a small loop, that appears to cross the stitches twisted toge- 
ther. These three kinds of stitches form the pattern, and are to be repeated 
until the work is completed. Grecian netting may be employed for a variety 
of purposes, and you can, of course, vary both the material and the meshes, as 
best accords with the design you are intending to accomplish. 




PLAIN OPEN NETTING. 

Commence with three or four rows of plain netting ; then 
one row of loop stitches, made by putting the silk twice round L 

the mesh. Repeat from the three rows of plain netting. KlwMwvIi 




DIAMOND NETTING. 

This kind of netting is easy of execution, and looks ex. 
tremely pretty. It is done by making every other stitch 
a loop-stitch, in order to effect which, the silk must be 
put twice round the mesh, instead of once, as in plain 
netting. Treble diamond netting is similar, only the 
process is rather more difficult in execution. After 



netting three rows plain at the beginning, the first row is to be composed of 




180 



NETTING. 



one loop stitch, and three plain stitches, repeated until the row is finished : then 
in working the second row, commence with the plain stitch, then follow with a 
loop, then two plain stitches, and repeat as before. For the third row, begin 
with one or two plain stitches, make a loop, then net a stitch plain, and repeat 
the two loops and the plain stitch, to the end of the row. For the fourth row, 
you net three stitches in plain netting, then make a loop-stitch, and repeat as 
in previous rows. 




DIAMOND NETTING, OF FIVE STITCHES. 

Commence with a long loop, then net five loops plain, 
repeat to the end of the row, finishing with a long loop. 
Second row ; begin with a plain loop, make a loose stitch 
to meet the short loop in the previous row, and withdraw 
the mesh before commencing the next loop, work four 
loops plain, and so proceed. Third row is commenced 
as the second : withdraw the mesh as before, and work 
three plain loops. Begin the fourth row with a plain 
stitch, work a long loop, then a loose stitch ; withdraw the mesh, and work two 
plain stitches ; again withdraw the mesh, work a plain stitch, and so pro- 
ceed to the end. The fifth is begun with two plain stitches ; then form a loose 
stitch, withdraw the mesh, work one plain loop, again withdraw the mesh, and 
finish with two plain stitches. The sixth row commences with three stitches 
plain, then make one loose stitch, and finish with two plain ones. For the 
seventh row, commence as in the last case ; make a long loop, and finish with 
two plain stitches. The eighth row begins with three stitches, in plain netting ; 
withdraw the mesh, net one stitch plain, make a loose stitch, again withdraw 
the mesh, and finish the row with a plain stitch. In doing the ninth row, 
net two stitches plain, withdraw the mesh, net two more plain stitches, make 
a loose stitch, again withdraw the mesh, and finish with a plain stitch. The 
tenth row is begun as the last, but instead of the loose stitch, net a plain one, 
then make the loose stitch and withdraw the mesh. The mesh proper for this 
kind of netting, is No. 18, and the silk called second-sized purse twist, is the 
best adapted for this kind of work. 



NETTING. 



181 



NETTING WITH BEADS. 

This will require four skeins of the finest netting silk, and a mesh No. 3, with 
very small steel beads. The ends of the foundation are joined — the purse being 
netted round. 

Net four plain rows before the pattern commences. There are six sprigs or 

beads in the round, five stitches between each, 
as in the following engraving. 

In the first half of the purse there will be 
seven rows of these sprigs. The pattern is then 
reversed, to form the other end : the points of 
the sprigs meeting each other. The opening 
of the purse commences with the fifth row of 
the pattern. The pattern is much more graceful in the netting, than can be re- 
presented on the diamonds of the engraving. 




NETTING WITH BEADS. 

Four skeins of extra fine netting silk, and a mesh No. 6, are required. Com- 
mence with a foundation of one hundred and twenty stitches, and net a piece 
seven inches in width. The mouth of the purse is made as follows : — the an- 
nexed engraving represents one side of it. 




First row — net forty-two plain stitches ; one bead stitch ; one plain ; two 
bead ; two plain, — alternately eight times ; one plain ; one bead ; forty-two 
plain. 




NETTING WITH BEADS. 



182 



NETTING. 



There are many other stitches known by different names, such as- 
Square Netting, Double Stitch Netting, 

Honey-comb Netting, Darned Netting, 

Round Netting, Vandyke Netting, 

Spotted Netting, Embroidery on Netting. 

Leaf Netting. 




A NET FOR THE HAIR. 

Materials. — One skein of fine sized cerise, and one of white netting silk ; 
meshes Nos. 12 and 15, and two netting needles. With cerise make a founda- 



NETTING. 



183 



tion of forty stitches on mesh No. 15, join to form a round, and net seven rounds 
in plain netting. With white net two loops into every stitch on mesh No. 12, 
then net six rounds in honeycomb pattern ; net the next six rounds in plain net- 
ting on mesh No. 15 with cerise ; repeat the last twelve rounds twice. Draw to- 
gether the foundation stitches, and finish with a silver cord and tassel, or by 
passing a piece of elastic through the last worked loops to draw the net around 
the head. 

NETTED CURTAIN. 




184 



NETTING. 



NETTED CURTAIN. 

Material. — One and a half pounds of Knitting Cotton, No. 10. Meshes — 
Nos. 12 and 14 Bell Gauge, one flat mesh, half an inch wide, and one, a quarter 
of an inch wide. Steel Netting Needles. 

The foundation is 576 stitches for a curtain of four yards in length. Com- 
mence with No. 14 mesh, and net four rows plain, and for the 



OPEN STRIPE. 

Fifth row, with the half inch mesh, work plain. Sixth row, mesh quarter of 
an inch, net two stitches together, repeat. Seventh row, plain. Eighth row, 
half inch mesh, net two stitches in one, repeat. Then, for the 



DIAMOND STRIPE. 

With mesh No. 14, work four rows plain, and for the diamonds, fifth row, 
net one plain stitch, and then turn the thread round the mesh, and net one plain 
stitch ; repeat these two stitches to the end. Sixth row, all plain. Seventh row, 
turn the thread round the mesh, net a stitch, then one plain stitch ; repeat these 
two stitches. Eighth row, plain. Repeat the last four rows five times more, then 
work three rows plain, and then repeat the open stripe. 




FIRST EMBROIDERED STRIPE. 



Mesh No. 14 ; work thirty-six rows plain, then repeat the open stripe, then 
the diamond stripe, then the open stripe. 



NETTING. 



185 



SECOND EMBROIDERED STRIPE. 

Mesh No. 14 ; work thirty-nine rows plain, then repeat the open stripe, dia- 
mond stripe and open stripe. Work the third embroidered stripe the same as 




the first, then repeat the open stripe, and net four rows plain. This makes a 
curtain one yard wide, and if required wider, repeat the diamond stripe and the 
second embroidered stripe. 



VAND Y KE EDGING. 



Mesh No. 12 ; net seventeen plain stitches on the last row of the curtain, turn 
back. Second row ; net the seventeen stitches, turn back. Third row ; net six- 
teen stitches, turn back, leaving one stitch. Then fifteen rows same as the last, 
working one stitch less each time. Cut off the thread and commence the next 




vandyke on the eighteenth stitch of the curtain. Repeat the Vandyke 3 along one 
side at the top and bottom. 

The patterns are embroidered with the same cotton and a rug needle, in the 



186 



NETTING. 



usual manner, that is, by passing the needle under and over the stitches of the 
netting about five times, taking care to turn the stitches the same way as marked 
in the engravings below. The beading at the edge of the stripes should also be 
worked on the four plain rows of the diamond stripes. The Vandykes are em- 
broidered in the same manner. 



SHORT PURSE, IN NETTING 




SHORT PURSE, IN NETTING. 

Materials. — Very fine crimson netting silk, and gold thread. Two steel 



NETTING. 187 

meshes are required, one about No. 15. and one No. 11. Eagle card-board 
gauge. 

Make a piece of foundation of nine stitches, and join your silk in the first. 

1st round (small mesh). 1 stitch in every stitch of the foundation. 

2nd : The same. 

3rd : 2 stitches in every one of the previous round. 

4th : A stitch in every one of the last round. 

5th : X 2 stitches in the first, and one in the second, X 8 times. 

6th : a stitch in every stitch. 

Tth : Increase eight stitches in the round, by doing two in one eight times, 
taking care that the stitch increased is the one which precedes the increased 
stitch of the last augmented round. 

8th : Like 6th. 9th : Like 7th. 10th, 12th, 14th, 16th, 18th, 20th, 22nd, 
like 6th. 

The intermediate rounds like the 7th. There ought now to be 88 stitches in 
the round. 

Do 44 more rounds, without any increase. Then take the large mesh, and 
do another round. 

Take the small mesh, X miss one stitch, take a stitch in the second, then one 
in the stitch that was missed. X Repeat this all round. 

Do four rounds of plain netting with the small mesh, then begin to make the 
points. 

1st point : 7 stitches ; draw out the mesh, X turn the work, and make a stitch 
on every one but the last ; X repeat till you come to a point. 

2nd and following points, like the first, so that there are 11 in the round. 

The pattern is then to be darned with the gold thread, according to the de- 
sign we have given. 



188 NEEDLES. 



NEEDLES. 



Good needles are absolutely necessary to make good work of any kind, and it 
is a great trial of patience and loss of time to attempt to work with any but the 
best. Perhaps in hand-sewing the difficulty is more felt than in any other, and 
to be obliged to sew with needles that " cut in the eye," as the phrase is, is very 
trying to the nerves of the unfortunate person using them. Some bend very 
easily, making a constant change necessary, and some are extremely brittle. 
Among the very best sewing needles are those to be had of Mr. Godey, the well 
known editor of the Lady's Book, which we prefer to any others. They are 
done up in neat little cases, containing a hundred needles, in sizes from 5 to 10 
inclusive. 

Crochet needles, or Hooks, require to be very smooth, and not too sharp. It is 
much better to buy each one with a separate handle. Those sold in sets are apt 
not to be of so good quality. They range from 12 to 24, inclusive. 

Knitting needles are either short or long, and range from 12 to 26, inclusive. 
Steel ones are for fine work ; and for coarse work ivory, bone, or wood are used. 

Tapestry needles are used for embroidery on satin, cloth, &c. 

Rug Needles are used for canvas work. 

Netting Needles are made of various sizes, and of bone, ivory, wood, &c. 

Beading Needles are very long and slender, and can be procured of any de- 
sired size. 

Darning Needles are of various sizes, suitable for either fine cotton, or coarse 
yarn. 

Bodkins of various sizes are made of gilt steel, bone, or ivory. 

A Crlove needle is a very convenient thing for every lady to possess, as it en- 
ables her to repair a break in her kid glove much more neatly than can be done 
with a common sewing needle. 

Machine needles are of different shapes, and always to be had of the manu- 
facturers of the machine to which they belong. 



PATCHWORK. 



189 



PATCHWORK. 

We own to a liking for Patchwork, genuine old fashioned patchwork, such as 
our grandmothers made, and such as some dear old maiden aunt, with imperfect 
sight, is making for fairs and charities, and whiling away otherwise tedious hours. 
We love to see a bed spread with the pretty squares and rounds and curious 
shapes, which mingled with white look so clean and gay ; and we even love the 




PATTERN FOR PATCHWORK. 

irregular, coarse, ill-matched pieces, put together by a perhaps over-tasked mo- 
ther, or a little child trying her first efforts at being useful. We think the real 
old Patchwork of bits of calico infinitely prettier than the bits of silk sewed to- 
gether for parlor ornaments. 

What little girl does not recollect her first piece of patchwork, the anxiety for 
fear the pieces would not fit, the eager care with which each stitch was taken, and the 



190 



PATCIIWORK. 



delight of finding the bright squares successfully blended into the pretty pattern. 
Another square and another, and the wprk begins to look as if in time it might 
become a quilt ; then, as the little girl grows up to young ladyhood, the blushes 
flit across her cheeks when, as she bends over her sewing, grandmamma suggests 
that making patchwork is a sign of matrimonial anticipations ; then the mother, 
exercising all her ingenuity to make a pretty quilt for the little occupant of the 
cradle, until we go forward to the old grandmother, who finds patchwork the 
finest work her aged eyes and trembling fingers will permit her to undertake. 




PATTERN FOR PATCHWORK. 

From the house of the rich mother who finds expensive silk, sewed in pretty pat- 
terns, the choicest covering for her darling, to the poor hovel, where every rag 
is treasured to eke out the winter quilt for the little ones, we find patchwork. 

Stories by famous authoresses, and patterns even by artists, are to be found 
on the subject of patchwork. 

The greatest neatness and regularity are requisite in the arrangement of the 



PATCHWOKK. 191 

pieces to form a patchwork pattern, and great taste may be displayed in the 
blending of the colors. There is, in this State, an institution for the reforma- 
tion of girls who have been imprisoned for some crime ; they are taught to sew 
neatly, and each one is allowed to exercise her taste and ingenuity in the manu- 
facture of a patch work quilt, which she is allowed to take away with her when 
she leaves. I have seen one hundred and fifty beds in this institution, each 
covered with a different pattern of patchwork quilt ; some very tasteful and 
pretty, others not. 




PATTERN FOR PATCHWORK. 

In an economical point of view there is great saving in patchwork quilts, if 
they are made from pieces of cloth already in the house, which are useless for 
anything else ; but if, as we once knew a lady to do, you buy the finest, highest 
priced French chintz to cut up into inch pieces, it is not perhaps so great a 
saving as it would be to buy the quilt outright. 

An old lady, an aunt of ours, one of the single sisterhood, is constantly making 



192 



PATCHWORK. 



the most beautiful patchwork quilts. She has one made entirely of pieces of 
dresses worn by the different members of the family ; this is her family quilt, 
and it really seems odd to see so many familiar pieces made into one article. 

Patchwork of silk is much used for chair covers ; whether it is pretty or not 
is a matter of taste; we do not admire it. But the prettiest piece of work we 
almost ever saw was a quilt made by an old lady friend for her first grandchild. 
It consisted of tiny stars of silk, and the pieces were given by all who had any 
interest in the baby; there was nothing bought or given by strangers. The 



j|i/:5mi<y:,«p^52i^ s Hroj/-;?imnn',.y^mnn^>™||^ 




ilfrilii'; .|»C'iiilliiiiir; i||||fc.iiiiiiii^!ijiiiiii^| nielli iii'Hif ll^iiiiiiiii'iirt'iiilliiii :| |j;;iiiiiiiii;> :;:'iiiilllii^ j| 



iPlM f ilii 



PATTERN FOR PATCHWORK. 

lining was of pure white satin, from the skirt of mamma's wedding-dress ; it was 
quilted in tiny diamonds. The quilt was filled with eider down, and bound with 
beautiful ribbon. It was just the size for baby's cradle, and was very light. 

An album quilt is a very pretty idea. A lady gives the size of the square she 
wishes to each of her lady friends, who are willing to contribute to her quilt. 
They make a square according to their own taste, putting a white piece in the 
centre, on which they write their name. Every lady's autograph adorns her own 



POINT LACE. 193 

square. An old lady in Charlestown showed us one in which there were one 
hundred squares, and all the contributors excepting twelve were dead. The quilt 
itself belonged to her mother, and was more than sixty years old. 

The two patterns given in this article are to be made of white pieces and 
chintz. The small squares are white, the others chintz, and the size may vary 
according to the taste of the maker. 

The varieties of forms for patchwork are innumerable. For economical 
calico patchwork, it is impossible to direct much as regards color, for there is 
generally a great variety ; but blend dark and light as much as possible, always 
bringing in as much white as is consistent with the design. 

A lady friend once made a quilt in this way. Her sight was rather imper- 
fect, and she was not fond of Crochet Netting, or any other of those fancy 
works. She cut squares of white, about a foot square, and in the centre of 
those, she sewed down bunches of flowers, cut out very neatly from the high 
colored furniture chintz. It was finished with a border of the same bouquets, 
sewed closely together, and the effect was very beautiful. 

Tin patterns are very useful in cutting out patchwork, as paper is apt to be- 
come tumbled. Cut in paper any design you wish, and take it to any tinman, 
and they will cut it accurately. In making silk patchwork, you must cut pieces 
of stout paper the size you wish, and baste your silk down on it very carefully, 
and then sew them together. Two colors look best with the filling, if there is 
any, of black. It is not necessary to remove the paper, if it is a chair cover 
or a cushion ; but for a quilt, it is better to take them out. 



POINT LACE. 

The Point Lace stitches are so numerous that a mere description of the whole 
of them would fill a volume. Indeed few people can be said to be acquainted 
with the whole of them, for each rare specimen of antique Point Lace will be 
found to contain stitches, or combination of stitches, peculiar to itself, and which, 
perhaps, may not be met with in one out of a hundred other pieces. We, there- 
13 



194 



POINT LACE. 



fore, do not profess to give the whole of the stitches known in former times, but 
only the principal ones seen in the most valuable lace. In our Point Lace pat- 
terns, also, we have in many instances retained the old designs, but adapted 
them to modern forms of dress. Thus, instead of the ruffs and stomachers of 
Queen Elizabeth's time, we give chemisettes, collars, and lace ; but those who 
are connoisseurs, will readily recognize in these the rich flowers and scrolls which 
form the distinguishing ornaments of Spanish rose point. 

The outlines of any design in Point Lace are made in braid of various sorts, 
in thread or sometimes in linen. The braid used is either French linen or cot- 
ton braid, or that known as Italian braid. French braid is a simple plait, more 
or less wide ; Italian braid is, in fact, a pillow lace insertion, somewhat resem- 
bling a tape, but with edges like those seen in all other pillow lace. It enters 
very much into the composition of Venetian and other valuable Italian lace, 
whence the name Italian Braid has been given to it. Point lace used formerly 
to be worked on parchment, the outlines being pricked on that material with a 
large needle. Parchment being, however, very hard and stiff, is not so pleasant 
a material to work on as colored paper, which may be lined with calico or alpaca, 
according to the work intended to be done. Work done with French braid has 
been called by some persons Point Lacet work, a name which (if it has any 
meaning at all) signifies point braid work ; and seems to imply that this kind of 
work is not Point Lace. This is an error. Both the materials now known as 
French and Italian braid were used centuries ago, in lace making ; in which art 
former generations have left such specimens, that Ave of the nineteenth century 
cannot hope to do more than equal them ; to surpass them would be impossible. 




We give a diagram showing the manner in which lines of braid cross and in- 



POINT LACE. 195 

tersect each other, to form the pattern ; and we would observe, en passant, that 
each line is done with a separate piece of braid, that from A to B being one 
piece, and from C to D another. 

French braid, whether made of linen or of cotton, is laid on the pattern with 
stitches taken across it, from one edge to the other. This mode of putting on 
braid prevents it from stretching, as from the nature of the plait, it would other- 
wise do. In forming angles, each edge should be sewn down to the paper, and 
then the braid turned over. Circles are made by laying the braid on the design, 
and forming it into the proper shape with the fingers, before tacking it down. 

Italian braid, being so much wider, requires to be tacked down at both edges ; 
and in forming circles and scrolls, one edge has, not unfrequently, to be gathered 
in slightly. When thread is used as an outline, a second, and much finer thread 
is used to tack it down. The coarse thread is laid on the outlines, and the needle 
is brought up on one side of it, and down, in the same hole, on the other. The 
stitches are taken at the rate of five or six to an inch, one being always 
placed at the point of each angle, so as to keep the outlines as accurate as possi- 
ble. To fasten on a thread, run the needle along the braid a little way, taking 
a button-hole stitch to secure it. Fasten off in the same manner. If the out- 
lines are in thread, you can twist the needle round it two or three times, and then 
take a tight button-hole stitch. 

The chief stitch in all point lace is that known as the common button-hole or- 
overcast stitch. This stitch worked as closely as possible, or at regular inter- 
vals, drawn tightly, or the reverse, forms almost all the stitches, or more pro- 
perly laces, used. We will begin by describing the simplest of all, which is 
known as 

Brussels Edge (No. 1). This is a continuous line of button hole stitches, 
not drawn tightly, and taken at equal distances of about the fourteenth part of an 
inch. When worked on braid, care should be taken that the needle is inserted 
at a little distance from the edge of the braid, which would otherwise be apt to fray. 

Little Venetian Edging (No. 2). In working this stitch, do one Brussels, 
and in the loop of that work a tight stitch. 

Venetian Edging (No. 3). Do four stitches instead of one in the loop of 
the Brussels stitch. 

Sorrento Edging (No. 4). Do a stitch exactly like the little Venetian,, the 



196 



POINT LACE. 



eighth of an inch long, and then one half that length in the same manner. Con- 
tinue to work these alternately. 

Venetian Bars (No. 6). Take the needle across the space to be barred, 
once, twice, or oftener, according to the thickness of the bar, and then cover 
these threads quite closely with button-hole stitch. 

The veinings of leaves are often worked in Venetian bars, over a ground of 
Brussels lace. As this to be done without breaking off a thread, it requires 
some little management. Begin by making the foundation thread of the vein 
running from the base of the leaf to the point, taking one, two, or three threads, 
but always beginning at the point to cover it with button-hole stitch. Do enough 
to come to the first veinings branching from it ; slip the needle across to the 



Venetian Edging 





Edged Venetian Bars. 




Venetian Bars. 



Sorrento Bars. 



braid, in the proper direction, taking a close button-hole stitch to fasten it : cover 
it with button-hole up to the centre vein ; then do the companion one in the 
same manner, and continue to work each pair as you come to it on the principal 
veining. 

Edged Venetian Bars (No. 5). This is a Venetian bar, like the last, edged 
with Brussels or Venetian edging. This, with various other bars, frequently 
forms the ground work of the guipured lace. 

English Bars (No. 7). These are frequently worked between two lines of 
Brussels or Venetian edging to connect them. They are made by passing the 
needle backwards and forwards through two opposite stitches, always tacking the 
under side of each, so that the threads be across the space smoothly and evenly. 
About four times each way will be sufficient. They are usually done across be- 
tween two stitches, and then one at each edge is missed before the next bar is 
made. Sometimes these bars are radiated, a single stitch of the edge being 
missed on one side, and two at the other. 



POINT LACE. 197 

Sorrento Bars (No. 8). These are bars which occur most frequently in 
Italian Lace. They are simply twisted threads so closely entwined that they 
only appear as one. They are also frequently radiated, and crossed ; the effect 
produced will be seen in the accompanying diagram. 

Dotted Venetian Bars (No. 9). A bar of threads is made, as for a com- 
mon Venetian bar. Do on it six stitches, and instead of draAving the seventh 
tight, hold the top by sticking a needle through it and the paper, about the tenth 
of an inch, and work on the threads of the loop three button-hole stitches. Do 
six more on the bar and repeat. 

Raleigh Bars (No. 10). Make a bar of threads, as for Venetian bars, and 
work on it about eight stitches. At the ninth, instead of bringing up the needle 
through the loop to form another button-hole, slip it under the bar, and bring it 
up on the right hand side, leaving a loop of thread about two inches long, which 
you will hold down with your thumb, to keep it in its place. Now twist your 
needle six times under the right-hand thread of this loop ; draw it up when it 
will make a knot, and slip the needle through it, above the bar, to continue the 
process. It may be observed that when this bar forms a part of the foundation 
of a piece of point, only two of these dots are generally seen on it, and they 
are placed near each other, almost in the centre of the bar. 

Point D'ALENgoN (No. 11). This is only common herring-bone stitch, with 
the needle twisted once or oftener under the thread of each stitch, according as 
the space to be filled, is narrow or wide. 

Spanish Point (No. 12). This is the raised stitch, which gives the peculiarly 
rich appearance to all the Spanish lace. A certain thickness of soft cotton is 
tacked down on the lace, in the form desired, and this is covered closely with 
button-hole stitch, edged with Raleigh dots, or with small loops. It is to be 
noticed that this is not attached to the lace by the button-hole stitches, but only by 
the thread which tacks down the soft cotton, so that it can be picked off without 
injury. The button-hole stitches must be worked very smoothly, and quite close 
together. 

Rosette (No. 13). This is exactly like a spider's web, worked on three, 
four, or more threads, according to the shape of the space intended to be filled. 
Begin by making a Sorrento bar across the space, from one point to the opposite; 
then a second one, slipping the needle under the first in going, and over it in 



198 



POINT LACE. 



twisting back ; then do a third, or fourth, if necessary ; but when you have 
back to the centre of the last, make the rosette, leaving the half bar single. 
The rosette is done by passing the needle under two threads, then continuing to 




STITCHES. 

slip it under two, the first of which is always the last of the previous two, until 
you have made the spot a sufficient size, when you finish the last bar, by twist- 
ing down to the braid, and fastening off. The size of the space must be the guide 
for that of the rosette ; but from six to ten times round a centre is an 
average. 

Brussels Lace (No. 14). Consecutive rows of Brussels edging, worked alter- 
nately from left to right, and from right to left. 

Venetian Lace (No. 15). Rows of Venetian edging. As this stitch can 
only be worked from left to right, a line of Brussels is usually placed between 



POINT LACE. 



199 



every two rows, and being worked from right to left, saves the trouble of run- 
ning the needle along the braid. 

Sorrento Lace (No. 16). Successive rows of the Sorrento edging. 
English Lace (No. 17). This is to be worked with the finest thread that is 
made. Do a number of sorrentp bars (closely twisted threads,) at equal dis- 
tances in one direction, throughout the space ; then take one thread under all 
these, in exactly the opposite direction ; take a stitch on the braid to secure it, 
and twist to the first cross. Pass the needle under the single thread and over 
the twisted one, till it has- gone four times round, when the spot will be suffi- 
ciently large. Twist on the single thread to the next cross, and repeat. Do 
this until the whole place is filled, as seen in the engraving, where the distance 
between the threads is sufficiently accurately represented. This lace always 
looks best, however, when the lines are diagonal. English lace is often radiated, 
that is, the lines are more distant from each other at one edge than at the other, 
and the spots proportionably larger, presenting the appearance of a fan. 

Open English Lace (No. 18). This is a variety 
of the previous lace, being worked in the same way, 
but on four lines of threads, instead of two, namely, 
one diagonal from left to right, one from right to left, 
one horizontal, and one perpendicular. The spots 
are worked on the last line made. The distance of 
the lines is seen in the engraving. 

The accompanying diagram gives another variety 
of open English lace. The straight bars are formed 
of single threads, while the diagonal ones are twisted ; 
and at every cross a tight button-hole stitch is worked, 
to keep the threads together. Observe that in work- 
ing bars, a tight stitch should always be taken on the braid, at the beginning 
and end of" every one. 

Mechlin Wheels (No. 19). Work Venetian bars on a single thread, in one 
direction, at equal distances. Then take a thread in the opposite direction, and 
cover it also with button-hole stitch, a little beyond the first cross. Take ano- 
ther needle and thread, and work a few stitches in the form of a circle, round 
each cross, so that by slipping the first needle through every stitch, a founda- 




Open English Lace. 



200 



POINT LACE. 



tion may be formed for the button-hole work with which the wheel is made, a 
single Raleigh dot being added between every two threads. The stitches taken 
with the extra needle, should form a sort of railroad for holding the thread in its 
place. This mode of working wheels, will be found very superior to the old 
one of pinning down the circle of thread. When all the wheels are worked, the 
stitches made with the extra needle should be cut away at the back. 

Heneiquez Lace (No. 20). This stitch, and the one that follows it, are in- 
variably worked with the finest thread manufactured. Like English lace, it has 
a better effect, done on diagonal bars, than on those which are taken straight 
up and down, or across a space. Make one twisted bar across the space, then 
take a single thread nearly close to it. Twist it twice round, then darn a spot 
on the two threads ; twist five or six times round, darn another, and repeat to 
the end. Do all the lines in one direction first, making the spots fall one be- 
neath the other. Then begin the lines in the opposite direction, taking the 
thread under in one way, and over in returning, whilst, in order to keep the 
close bars apart, the thread must be twisted between them. Care must be taken 
that the bars in one direction fall between the spots in the other. 

Cordovan Lace (No. 21). Worked like the preceding ; but with three bars 
in each line, instead of two. 




Brabant Edging. 





Lyons Point. 

Brussels Lace. 

Valenciennes Lace (No. 22). This stitch, also, is done with the finest 
threads made. It is simple darning, of the closest and finest description, done 
with so much regularity that it resembles cambric. 



POINT LACE. 201 

Brabant Edging is a name sometimes given to a union of the Brussels with 
the Venetian edging. A row of Brussels is first worked, and on it a row of Ve- 
netian. The diagram gives the effect of this arrangement. 

Another variety of edging is produced by two or three rows of Brussels being 
worked on one another. This is frequently seen in old lace ; and, with Vene- 
tian on the outer edge of the braid, is often termed Lyons Point. 

When spaces, similar to those in the accompanying diagram, are to be filled 
with Brussels lace, the best way is to work each side to the centre, and then 
run the needle up the middle, catching up, alternately, a stitch on each side. 
Sometimes the centre is not closed up at all. 

The diagram, in page 202, gives a specimen of a modification of the Little Vene- 
tian Lace. The first stitch is taken as usual, but is followed by three others, 
worked as closely as possible. A space, equal to that of four stitches, is left be- 
tween every four. In the second row, the four stitches are worked on the loop. 
The engraving also shows how the stitches are adapted to the different spaces in 
a pattern. 

Foundation Stitch (No. 23). This is ordinary button-hole stitch, worked 
over a thread, and as closely as possible. The thread is taken across the space 
from right to left, to form a bar, which is then covered with close Brussels, 
worked from left to right. Each stitch of a row is worked between two of the 
previous rows. 

E scalier Stitch (No. 24). Work nine button-hole stitches as close to each 
other as possible. Miss the space of two, and repeat. In the second row, work 
one after each of the first seven, miss the space of the last two, work two on the 
loop, and seven more on the next nine, miss the last two of the nine ; repeat in 
every successive row, passing over the last two of nine stitches, and doing two 
on the vacant space. 

Cadiz Lace (No. 25). Do six close Brussels stitches. Miss the space of 
two, do two more, and again miss the space of two, repeat from the six stitches. 
2nd row : Do two over the loop of every space, and miss all the stitches, whether 
six or two. Repeat these two rows alternately, to form the lace. 

Barcelona Lace (No. 26). The first row of this lace is exactly like Sor- 
rento edging. 2nd row : Do four close stitches on the long stitch, and miss the 
short one, taking care not to draw the thread too tightly. 3rd row : A row of 



202 



POINT LACE. 



Sorrento edging, the long stitch coming over the four stitches of the last row, 
and both the button-holes being worked on the loop, so that the short stitches 
come over the short of the first row. These two rows, worked alternately, make 
the lace. 




LITTLE VENETIAN LACE. 



Fan lace (No. 27). 1st row : Six close Brussels, miss the space of six. 
Repeat. 2nd row : Six stitches over every six, miss the same space. 3rd row : 
Six close Brussels on every loop, missing the space between. 4th row : Six over 
every six, and six on every loop. 5th row : Six close over the six on the long 
loop, miss the other six. Repeat these last three rows as often as they may be 
required to fill up the space. 

Spotted lace (No. 28). This very light and pretty lace is clone thus : 1st 
row : X two close button-hole stitches, miss the space of four, X repeat to the 
end, without drawing the thread too tightly. Begin the next row, and all fol- 
lowing, at a little distance from the one preceding, and do two close stitches on 
every loop of thread. 

Venetian Spotted lace (No. 29). This lace consists of' a series of diamonds 
formed by Venetian bars crossing each other diagonally, in each of the sections 
of which, four spots of English lace are to be worked. The foundation threads 
of the Venetian bars are first laid ; then the English lace spots are worked, and 






POINT LACE. 203 

the button-hole stitch of the Venetian bars is done the last. This lace is well 
suited to fill up large spaces. 

Open Antwerp Lace (No. 30). For this lace a new stitch is required, called 
the double Brussels. Instead of a simple button-hole stitch, the needle is twisted 
once in the loop, so that when drawn up, it has a longer appearance than the 
ordinary Brussels. The stitches are to be worked quite close to each other. 
1st row : X eight close double stitches, miss the space of six, X repeat, without 
drawing the thread very tightly across the missing space. 2nd row : X five 
double over the eight, two double on the loop of thread, X repeat. 3rd row : 
X two double on the five, five over the two, X when five stitches are worked 
over two, one goes between the two, and two on each side of it. 4th row : X 
eight double over five and miss the space over the two, leaving the loop rather 
loose, X. Repeat from the second row, throughout the space. 

Open Diamond (No. 31). 1st row : Five close Brussels, miss the space of 
two, X eight close, miss the space of two, X to the end of the row. 2nd row : 
Two close, X miss two, two on the loop, miss two, work along the line after all 
the remainder of the eight, do two on the loop, and on six of the next eight 
(thirteen altogether), repeat to the end. 3rd row : X miss two, two on the 
loop, miss two, do two on the loop, miss two, do one on every one of the line of 
stitches but the last two, X repeat. 4th row : Two on the loop, miss two, two 
on the loop, X miss two, two on the loop, one on every stitch, and two on the 
next loop (thirteen altogether), miss two, two on a loop, X repeat. The next 
diamond of holes must be so managed as to fall immediately between two of the 
first row. By repeating the first line, the place will be indicated. In all these 
stitches, it is assumed that squares are to be filled in. Where the shape varies 
from that, extra stitches must be added at the beginning, or taken away, as the 
case may be, the worker referring to the engraving for the appearance intended 
to be produced. 

Close Diamond (No. 32). The first row is plain button-hole stitch, 2nd row: 
Five stitches, X leave the space of two, fourteen stitches, X repeat. 3rd row : 
Two stitches, X miss two, do two on the loop, miss two, work on all the rest of 
the fourteen, except the last two, X repeat. In the fourth row, the holes fall 
over those of the first. The fifth row is all in close stitches. In the sixth, 
begin to make fresh lines of diamonds, coming exactly between the last set. 



204 



POINT LACE. 



Antwerp Lace (No. 33). 1st row : X eight close, miss the space of 
two, X repeat. 2nd row : X five close, over eight close, and two close on the 
loop. 3rd row : X two close over five, and five over two X . 4th row : X five 
close over two, and two over five, X. 5th row: X eight close over every five, 
X repeat. 

The above are the principal stitches found in Old Point Lace. 

COLLAR IN SPANISH ROSE POINT. 

Materials. — Brooks's Valenciennes Threads. This collar is worked to cor- 
respond with the chemisette, and is distinguished by the same close, heavy work, 
and solid Spanish stitch edged with loops. The ground of the collar and chemi- 




COLLAR IN SPANISH ROSE POINT. 

sette are guipured in the richest style, partly with plain Raleigh bars, partly 
with those having semicircular loops, dotted in the same manner. Sometimes 
two bars have a Mechlin wheel at the cross. 

The same threads are to be used as for the chemisette. The section given of 
the collar is the full size, and has only to be repeated, and reversed, for the 
length. 



POINT LACE. 



205 



PINCUSHION COVER IN POINT LACE. 

Materials. — Brooks's Valenciennes Cottons, and No. 7, French braid. 
Also some satin of any bright color, satin ribbon 2 inches wide, to match, and 
materials for a pincushion. 

This pincushion is intended to be made up in the French style, that is, merely 
laid over the top of a satin cushion, with three handsome bows of ribbon to 
match, placed at equal distances. 

The outlines are in French braid. The scallops are filled alternately with 




PINCUSHION. 



206 



POINT LACE. 



English lace, worked with Valenciennes, No. 240, and rows of Venetian and 
Brussels alternately, done in No. 200 of the same. The Sorrento edge is done 
with No. 100. One flower has a double Mechlin wheel in the centre, and is 
merely edged with Venetian lace, (in No. 160 ;) the other has two petals filled 
with foundation stitch, (in No. 240,) and two with English lace. 

The ground is Brussels net, worked with Brooks's Valenciennes, 200. 

The Venetian and English bars are worked with No. 180. 

If the centre is left plain and open, a small glass for flowers is inserted. Of 
course, the pincushion has an open centre to correspond. If filled, the cushion 
has a flat top, and the lace is merely laid on, and fastened with satin bows. 



CROCHET POINT LACE. 



Materials. — Brooks's Crochet Cotton, No. 20, and Embroidery Cotton, 
No. 70, Crochet-hook, No. 24, and a common sewing needle. 




crochet point lace. 
This style of crochet, of which a great deal is done in Ireland, is a very fair 



POINT LACE. 207 

imitation of Guipure lace ; not, of course, possessing the intrinsic value of that 
beautiful and costly fabric, but, nevertheless, being a very pretty addition to the 
toilet ; and as such, we hope, the design will be acceptable to some of our 
friends, to whom crochet is more familiar than point lace work. 

The piece before us is done in two parts, which are afterwards joined ; the 
lines for commencing them, being the chains marked a and b. At line a, the 
whole edge is clone, and two open rows within the line ; at b, the outer part is 
done, and one line within, whilst the whore intermediate space is one continu- 
ous piece of work, connecting the two sides together. The raised parts are 
done with embroidery cotton, and a sewing needle. 

A. Make a chain of any length required, provided the number of stitches can 
be divided by 31, and leave five or six over for the end. On this chain, work a 
row of s.c. 

1st row of the edge, working on this s.c. row. X 5 s.c. 15 ch., miss 9, X 
repeat. End every row with a few s.c. 

2nd : Begin with two or three s.c, and a few chain, X 7 s.c. under loop, 
10 ch., X repeat. 

3rd : S.c. on the s.c. at the beginning, and under the few chain, X 10 ch., 
9 s.c, under chain, X repeat. 

4th : S.c. on every s.c and 12 s.c. under every loop. 

5th (to set the Vandykes) : X 5 s.c on the 5 centre of the 9 s.c, 9 ch., 
miss 4 s.c. under 5th, 9 ch., miss 5 s.c. under 6th, 9 ch., miss 4., X repeat. 

6th : 3 s.c. on the centre of 5, work under the first and second loops, in s.c, 
so as to completely cover them, and do half the third in the same way. Turn 
the work on the wrong side ; 8 ch., s.c. at the point of the centre loop, 8 ch., s.c 
at the point of the first. Turn on the right side, and s.c, under the last loop of 
8 ch., and under half the next. Turn the work on the wrong side, 8 ch., s.c on 
the centre of the finished loop of 8 ; turn the work on the right side, s.c. under 
the last loop, and on the two remaining halves. One point is now done. Re- 
peat. 

Now, on the original chain do a row thus : X 5 s.c, 15 ch., miss 10, 5 s.c, 
17 ch., miss 11, X. 

2nd : X 7 s.c. under a chain, 9 ch., X repeat. 



208 POINT LACE. 

This piece is now ready for joining, lay it aside and begin b, making a chain 
divisible by 28, with a few over. Work on it one row of s.c. 

2nd (work on the chain): X 5 s.c. 17 ch., miss 9, X repeat. 3rd : X 8 s.c. 
under loop, 10 ch., X repeat. 

4th : X 8 s.c. under loop, 8 ch., X repeat. 5th: X 2 d.c. under loop, 14 ch., 
X repeat. 6th : S.c. on every stitch. 

This is the outer row. Now work on the s.c. row, after the chain. — -X 4 s.c. 
17 ch., miss 9, 5 s.c, 15 ch., miss 10, X repeat. 

The two strips being thus done, the centre work, which connects them, is the 
next part of the process. 4 s.c. on the four first stitches of the last row, and 
3 more on the first three of 17 ch. ; 20 ch., s.c. under the opposite loop of the 
piece a; turn 20 s.c. under the 20 ch. ; — this will not cover it entirely; X 
11 ch., s.c. under the loop you began from; turn 6 s.c. under the 11 ch.; 11 ch.; 
miss 12 of the 20 s.c, 4 s.c. on the next 4. 13 ch., s.c under the next loop on 
the a side ; turn 8 s.c. under the chain of 13 ; 11 ch., 12 s.c, under the 6 s.c. 
and the adjoining loop of 11 ; 6 s.c under the loop of 17 ch. (b side.) Now 
begin the thick part, on which the satin-stitch is afterwards done, working direct 
from b line to a, and catching up the various parts as you proceed. Turn 12 
ch., 7 s.c. under 11 ch., 8 s.c. on 8 s.c. — 2 s.c under loop. Turn s.c. back on 
the 15, and 8 more under the chain of 12. Turn s.c. back on all these — 2 s.c. 
under loop at the end. Turn* s.c. back on all. 9 ch., s.c under the next loop 
on the b side. Turn 7 s.c. under 9 ch., 12 ch., 7 s.c. on 7 near the end of the 
thick part on the line of s.c. marked*, leaving the last three stitches near the 
loop. 9 ch., s.c. under the next loop on the a side. Turn 7 s.c. under chain 
of 9 : 8 ch. s.c. under chain of 12, and on 7 s.c. to the loop at b. S.c, under 
the loop. Turn 8 s.c. on last 8. Turn 8 s.c. on last : s.c. under the same loop 
as before. Turn 8 s.c. on the last 8, and five more; 13 ch., 4 s.c. under 4 last of 
8 ch., s.c, under loop at a ; 20 s.c. (on the 4 s.c, under the 13 ch., and on 3 
last of five s.c.) ; X repeat between the crosses throughout the length of the 
lace. 

For the satin-stitch. With a double needleful of embroidery thread, trace 
round the part to be worked, on the right side ; just catching the thread in the cro- 
chet here and there. Go round and round this until there is a thickness of at 
least 30 threads, over which work in close button-hole stitch. It is not neces- 



POINT LACE. 



209 



sary to take the needle through the crochet in doing the button-hole, but only 
under the thickness of threads. 

Two pieces of raised work occur in every repetition of the centre — one being 
near each edge. 

HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE. 

Materials. — Brooks's Point Lace" Cottons, and No. 1 Valenciennes thread. 

We give the section of the handkerchief of the full size, that workers may 
draw their own pattern from it. It may be made of any dimensions required. 
The perfect pattern occupies the entire side, reckoning from the open flower at 
the corner. Were this entirely repeated for the quarter, it would make the 
handkerchief rather too large for general taste : about one-half the pattern, in 
addition to the piece given (or the open flower, and the two next to it, on the 
inner side), would be found sufficient for the quarter. One fourth of the hand- 
kerchief being drawn on tracing paper, all the design can be marked from it, on 




HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE. 



]4 



210 POINT LACE. 

red, blue, or green ; but it is preferable to draw a little more than a quarter 
only, instead of the whole handkerchief, which is cumbersome to hold. When a 
quarter is done, it may be removed from the paper, which can be used a second 
time by a careful worker. 

No braid whatever is used for this handkerchief, which is similar, in the mode 
of working, to some of the most valuable specimens of antique point. The 
scroll and flowers are close and heavy, the inner ground is guipured in Raleigh 
bars, and the space between the scroll and the outer edge is filled with fine and 
close English lace. 

The stem, and the closest part of the flowers (which may be distinguished 
in the engraving), are done in foundation stitch, with No. 90, point lace cotton. 
The veinings of the petals, where they occur in this stitch, are made by taking the 
foundation thread at double the distance from the last one, and working over it 
a row of Brussels stitches at the usual distance from each other, instead of close, 
as in foundation stitch. The calyx of the flowers is done in Antwerp lace. The 
very finest point lace cotton should be used for all this stitch. 

All the flowers, done as we have just described, have a centre worked in Vene- 
tian lace ; No. 70 cotton must be used. 

The open flowers, and the button-hole rounds, are done with Valenciennes 
thread, No. 120. The English lace, with No. 100 cotton. The Raleigh bars, 
with Valenciennes, No. 100. 

The edge of the handkerchief border is finished with close button-hole stitch, 
on which Raleigh dots are worked, at regular intervals. This edge is worked 
after all the rest of each quarter is finished. 

If it be thought troublesome to outline the whole pattern with thread, No. 5, 
white cotton French braid may be used. The effect is, however, greatly inferior 
to that of the thread. 

To make up the handkerchief, cut a square of cambric the exact size to fit 
the lace, allowing for a very narrow hem. When the hem is made, lay the inner 
line of the lace over it, tack them together, and work a row of close Brussels 
edge over the two, to connect them. 



POINT LACE. 



211 



POINT COLLAR IN CROCHET. 

Materials. — Brooks's Crochet Cotton, No. 48. 

Each of the rows in this collar, large and small, are done separately, begin- 
ning with the circle in the centre, and making the six leaves round it. Each 
rose is to be joined to the others, where it is indicated in the engraving, and at 
the point of two of the petals of the lai-gest, are three small loops, which serve 
to connect it with the edge. All the sets of roses required for the length of the 
collar being done, the barred edge follows, the trefoil being worked on it, where 
they occur, and the roses being joined to it in their proper places. On this 
line, another of alternate close and open squares is done, and then a point 




point collar, in crochet. 



edging, similar to one already given in this volume. The ground, of chains, 
worked back in slip-stitch, with occasional picots, is to be done when forming 



212 PICTURES WITH LEAVES. 

the band for the neck. The collar should be worked a little larger than the 
engraving. 



PERFORATED CARD-BOARD. (See Card-Board.) 
PORTFOLIOS. 

Portfolios can be made very pretty of card board in this way. Cut two pieces 
of any size desired. Cut from the finest furniture chintz, bouquets of flowers, 
and gum them down in the middle of the card-board. Corner pieces can be 
added if desired. Line the pieces of card-board with some bright colored silk, 
and then bind the pieces all round with nice ribbon. Put on eight pieces of 
ribbon exactly opposite to each other — four on each piece of card-board ; tie 
four of them together at the bottom, leaving the others to be tied or not as de- 
sired. Finish the whole by full pretty rosettes or bows at each corner. When 
the flowers are pretty and well arranged, the effect is very good, and a very 
pretty gift can be made at very small expense. 



PICTURES WITH LEAVES. 

Take autumn leaves of different sizes, and arrange them very carefully in the 
initial letters that you wish. Gum the two ends, very delicately, on to fine white 
ivory paper. It is better to mark out with pencil the name before trying it with 
the leaves, but if care is taken in the arrangement, and regard paid to propoi*- 
tion, and color, they are very handsome. Cover with a glass and frame with a 
gilt or black frame. 

A colored engraving of a circular form, can be handsomely framed in nearly 
the same way. Take autumn leaves, of various kinds, and acorns, and arrange 
them like a full wreath around the picture, of course having first gummed your 
picture on to very stiff paper. Arrange them so that there will not be any white 
places showing through the leaves. Fasten them down with gum. 

Artificial leaves and acorns can be arranged in the same way. 



POINT OR CHECKED PAPER. 213 

PINE CONES. 

Pine Cones gummed down and highly varnished, make very handsome picture 
frames, fancy boxes, fancy tables, &c. If for a basket, make it of pasteboard 
and cover it with dark brown paper. Sew on the pieces of pine cones, in rows 
so as to look like shells, letting one row lap a little over the other. For the han- 
dle, sew the pieces of cones crossways. Ornament it in any way you choose. 
The pieces can be gummed or sewed. The whole must be varnished with the 
best copal varnish. The basket should be lined with silk or satin, putting some 
cotton between the pasteboard and lining or else quilting the lining. The lining 
must be put together first, and then attached to the top and bottom of the 
basket. Finish the edges with Chenille. 



PENWIPERS. 



Penwipers are made of cloth, flannel, chamois, linen, &c. Some represent 
butterflies ; the body made as nearly as possible like a real butterfly, the wings 
of the insect being covered with rich embroidery and beads. The leaves for 
wiping the pen are arranged under the wings of the butterfly. Another pat- 
tern is a circle of bead work in imitation of the Indian, with leaves underneath. 
Another pattern is divisions of cloth, of red and black, nicely cut round the 
edges, each one doubled so as to become a half circle ; these are fastened together 
and a bronze figure put in the middle. Some are made of canvas work, some 
in crochet. There is a great variety of forms. The Penwiper Ornaments can 
be bought in almost any desired form, representing animals, flags, &c. The 
screw passes through the material and then is fastened by a screw underneath. 



POINT OR CHECKED PAPER. 

Point, or Checked Paper, is a paper marked in squares to aid the worker 
on canvas, where the pattern is too small. 
Pounced Patterns, (see Applique*). 



214 POTCHOMANIE. 



PASSEMENTERIE. 

Passementerie : — this term is applied to gold thread and silks woven over 
moulds, and used for tassels and other purposes, such as fan handles, screen 
handles, &c. They generally are of the same color as the article for which they 
are intended, and are of French manufacture. 



POTICHOMANIE. 



This beautiful branch of fancy work, though not to be classed with needle- 
work, is yet so popular, and if well done so elegant, that it deserves a place 
among the ornamental work suited to ladies. 

In detail it is very simple, but to make it effective and elegant it must be 
neatly done, and arranged with taste and regard to subjects. 

Glass vases of various shapes and sizes can be procured, and in selecting 
choose those in which the glass is clear and free from flaws. Among the shapes 
are hanging and standing vases, candle-sticks, boxes, flower pots, dishes and 
bowls for flowers, bottoms for aquarium glasses, &c. 

After the glass, the next materials to be chosen are the printed sheets with 
various designs, and great taste can be exercised in choosing suitable designs for 
the purpose for which the glass is intended. Gums of various kinds are neces- 
sary, carefully dissolved, long handled paint brushes, best varnish, prepared 
linseed-oil colors, essence of turpentine, &c. 

The engravings designed for Potichomanie are very numerous, colored and un- 
colored, some being intended for imitation of Chinese jars, some for Etruscan 
jars, some for Sevres china, Assyrian patterns, and many others. 

The patterns must be cut with great accuracy with very fine scissors, and care- 
fully arranged according to their subjects and destination in separate boxes. 

After the designs are cut and arranged, lay them down on folded sheets of 
paper and gum them carefully on the right side, and placed at once in the posi- 
tion which you wish it to occupy on your vase. Pass your finger or cloth care- 
fully over it that every part may adhere evenly, and no air get in between. 



POTICHOMANIE. 



215 




VASE IN POTICHOMANIE. 



216 



POTICHOMANIE. 



When the vase is covered, let it dry, and then pass a coating of gum over the 
inside. After this has dried, add a coat of varnish. Care must be taken be- 
fore applying the oil color that every spot, finger mark, or any blemish is re- 
moved, as it cannot be done afterwards. 

Then apply the oil color, either white, pink, straw color, green, or any color 
you choose. Be careful that it is just the right thickness, as if too thin it will 
run. If it is too thick it may be thinned with turpentine. Then varnish the 
inside again, after the paint is dry. 

It is better in choosing vases for flowers to select those that will admit a 
glass for the water inside, as putting the water in without the glass sometimes 
discolors it, and in the hanging vases for flowers a small pot containing the earth 
must be put inside. Sometimes the jars are made very large to answer for seats 
like the Chinese jars. 

Like painting or canvas work it requires an eye for color, and great taste in 
arranging, and should never be attempted by those deficient in these particulars, 
and should never be done in a hurry. 




ETRUSCAN VASE, IN POTICHOMANIE. 



QUILTING. 



217 



QUILTING. 

This work, when neatly done, is very ornamental, either for articles of dress 
or for quilts. The number of patterns used to be very limited, but since the 
introduction of sewing machines, the work has become so popular, and is so 
beautifully done, that more attention has 'been paid to the designs. 

It is hard work to do neatly on the old fashioned quilting frame, though we 
should be sorry to see that abolished, for the sake of the association of the old 
time quilting frolics, which, in country towns, was the occasion of such unbounded 
hospitality and merry-making. Quilting on a Graver $■ Baker s sewing machine, 
is no trouble at all, and the rapidity with which it is accomplished, enables us to 
apply it to many things which would cost too much time and labor for hand sewing. 

Quilting is used for the inside of ladies' cloaks, gentlemen's coats, infant's 
cloaks, insides of boys and men's caps, smoking and lounging caps, and many 




QUILTING PATTERN. 



218 



RINGS. 



other articles of dress ; for bed quilts, comfortables, &c. We have seen a 
quilt of plain marseilles, of large size, quilted all over in squares not more than 
an inch square. 




QUILTING PATTERN. 



RINGS. 

Rings are made of various sizes and materials, and used in crochet and 
other fancy work. A very pretty lamp mat is made by procuring brass rings 
of exactly the same size, and covering them with thick button-hole stitch, in 
zephyr wool of any colors. We have one in crimson and white. The centre 
ring is crimson, and around that, sewed together, is a circle of white rings, then 
a circle of crimson ones, then one ring is missed, and two sewed on, and then 
one missed again, and so on all round ; then one white one is sewed between the 



RINGS. 219 

crimson ones, forming a star. The centre of every ring is crossed by a line of 
steel beads, forming a cross in each one. 

Sometimes rings are used covered with floss silk, for bags, &c. 

PURSE, WITH BARS AND RINGS. 

Materials. — One skein of scarlet, and one of rich dark green, coarse purse 
silk, will be required ; also two reels of the finest gold thread, and Penelope 




PURSE, WITH BARS AND RINGS. 

needle, No. 3. Make a chain with green, of 51 stitches, and work 2 rows in 
single open crochet ; the second row being worked into the holes over the chain 



220 RINGS. 

stitch, instead of the loops of the chain ; and, in order to keep the edges even, 
make 2 long stitches in the first and last hole of the first row of single open cro- 
chet. Now, with gold thread, work three rows in double crochet ; then, with 
scarlet, work 2 rows the same as the green. Repeat the above, alternately, 
green and scarlet, dividing the two colors, with • three rows of gold, in plain 
double crochet, until you have 3 stripes of green, 2 of scarlet, and 5 of gold, 
making 10 in the whole. This is half of the purse. It is necessary to leave 
an opening here ; therefore, work the first row of the eleventh stripe in the fol- 
lowing manner: — Join on your silk, which, according to order, you will 
find must be scarlet ; work in single open crochet, as before, to within 14 
stitches of the end; leave the silk you are working with, but do not cut it off; 
take a short length of the same color, join it to the loop next to that you last 
worked into, and make a chain of 14 stitches ; having done this, continue with 
the row you left unfinished, working into the loops of the chain you have just 
made, instead of the gold thread ; finish this stripe by working another row, and 
proceed according to the directions before given, until there are, for this side, 3 
scarlet, 2 green, and 5 gold stripes, making 20 in the whole purse ; crochet it 
together, leaving an opening of 14 stitches to correspond with the other 
side ; finish with gold bars ; sew one side on with scarlet silk, and the other with 
green ; draw up the end, and add a tassel to match. 



A NOTE, OR CARD CASE, IN COVERED RINGS. 

Materials. — One gross (12 dozen) rings of the smallest size, such that are 
sold for small bag rings, or such that steel purse tassels have. These can be 
obtained through any ironmonger, who can procure them from Birmingham. 
The engraving will give the size of ring. 1 bunch of steel beads, No. 6, 1J 
yard of very fine black silk twist ; a skein of fine black silk ; 1 yard black lute- 
string ribbon, 5 inches wide, and a little paste. 

Cover the rings with the twist, in button-hole stitch, fastening each off neatly ; 
when all but 6 are covered, sew them together, 16 rings in a row, and 11 rings 
deep (the needle can be slipped round each ring), but to connect the sewing at 
each joining, slip three beads on the needle, and sew them tightly down (observe 



RINGS. 



221 



the engraving for this) ; take two pieces of stiff writing-paper, nearly 11 inches 
long, or 1 inch shorter than double the length of the rings, and nearly as deep 
as the 11 rings are. Cover each piece with silk, by pasting the silk on the paper, 
turning the edges over the paper ; when dry, crease the centre, and paste the 
two pieces together. Now turn over and crease well the two ends, 2| inches in 




A NOTE, OR CARD CASE, IN COVERED RINGS. 

depth ; these form a portion of the pockets. Now cut two gores rather more 
than 1J inch at the top, tapering to a point at the bottom ; these gores must be 
2| inches in length, and have the selvage side at the widest part. Open the 
two sides of the covered paper with a penknife, to admit the edges of gore ; with 
a camel's hair brush, paste the edges of the paper (not the gore), place the gores 
neatly in ; lay the whole flat on a table, place a flat board on the work, then a 
weight. When dry, brush over the rings at the back, with a little paste, lay 
them flat and even on the silk ; press this also with a weight, and when this is 
dry, with needle and silk, just catch the rings round the edge, to prevent the 
rings slipping from the silk. 



222 SCALE EMBROIDERY. 

This is an exquisite little case, and admirably adapted for disposal at fancy 
fairs. 



SCALE EMBROIDERY. 



This work is done by sewing scales of fishes on cloth, velvet, &c; the scales 
being ready prepared. The effect is very beautiful, particularly at night. It is 
not very common, but must be admired wherever seen. Mr. Fletcher in his re- 
cent work, called "Brazil and the Brazilians," mentions some beautiful speci- 
mens which he saw in the island of St. Catherina. He says, — 

" In the island of Santa Catherina, in the southern part of Brazil there is a 
commerce in artificial flowers made from beetle's wings, fish-scales, sea-shells, 
and feathers, which attract the attention of every visitor. These are made by 
the women of almost every class, and thus they obtain not only pin-money, but 
some amass wealth in the traffic. The wreaths, necklaces, and bracelets made 
from the scales of a large fish, are not only curious, but are exceedingly beauti- 
ful. Their effect at night is that of the most brilliant set of pearls, and they 
are as much superior in splendor to the small specimens of fish-scale flowers 
manufactured in Ireland, and exposed in the Sydenham Palace, London, as the 
diamond surpasses the glisten of cut-glass." 

ELEGANT SACHET. — PERCH SCALE EMBROIDERY. 

The design is worked upon either dark maroon, blue, or green velvet. The 
materials are perch scales, (they being only serrated at the edges,) gold bullion, 
and gold thread. The design must first be drawn upon paper, as a pattern to 
work from, the flowers and leaves (with the exception of the four large leaves in 
the centre) are formed of the scales ; the outside of the flowers must be worked 
first, and then followed by rows of scales in the centre, each successive row 
hiding the stitches of the former one. Two stitches in each scale are sufficient. 
A rather fine needle must be used ; when the flower is complete, you hide the 
few stitches seen in the centre by small pieces of gold bullion sewn over them. 



SCALE EMBROIDERY. 



223 



The stalks and large leaves are done in gold bullion ; the finer sprays are 
worked with the gold thread tipped with small pieces of bullion. 




"Hiiiili 



ELEGANT SACHET. 



224 



SHADES FOR LAMPS. 



We think the pattern for a box given here, would be very pretty arranged 
with fish-scales in something the same manner. The engraving represents one 
on which autumn leaves, butterflies, &c, are gummed. A mixture of flowers in 




BOX IN JAPANESE WORK. 



fish-scales which could be gummed instead of sewed, would be very handsome. 
The box is intended to be filled up with japanners' size until even with the 
ornaments, and then very highly varnished. This is called " Japanese Work." 



SHADES FOE LAMPS. 

These are made of a great variety of patterns, the newest being those cut out 
in patterns and lined with colors. They can be bought ; but ladies, wishing to 
make them, can succeed Avith very little trouble. Cut out a pattern exactly the 
size you wish, over one of the wire frames used for shades. The paper chosen 



SHADES FOR LAMPS. 



225 



must be very thick Bristol board. On the glazed side of this, trace your pat- 
tern very accurately. Then lay it down on a smooth flat board, and with 
a penknife, cut it carefully, leaving only those parts together, which are neces- 
sary to prevent its falling apart. If the pattern is roses, cut part of each round 





SHADES FOR LAMPS. 



of leaves, leaving part together. When it is all cut, with pieces of stick press 
in the cut parts, more or less as you wish it shaded. Then under each flower 
lay two or three folds of tissue paper, leaving it loose, and gumming it on the 
15 



226 silks. 

edges beyond the flower, putting the paper the color of the flower — under a rose 
put red or pink — under carnation, deep crimson — under a forget-me-not, blue, 
and so on. Then over these again lay several folds of green tissue paper, still 
leaving it loose. Let it dry thoroughly, and then cover the whole inside with 
white tissue paper. Finish the edge either with scallops cut in the paper, or with 
a gilt paper edge. The effect is very beautiful, the parts pressed in closely and 
thus moderately producing light and shade. They are not very pretty off the 
lamp, but on it they are very handsome. 

We give on page 225 two patterns of shades which are'very handsome, and not 
at all difficult to do. 

One of the most beautiful parlor ornaments in the world is a tasteful lamp- 
shade, as it is generally placed in the central point of observation on the centre- 
table. The engraving which we give is one of a variety easily prepared, and 
also very attractive. Take a wire frame, of the usual description — one from an 
old shade will do — and cover it with any brightly colored silk or transparent 
paper. Rose color, is however, preferable in most cases. Then with gum, 
aided, if necessary, by the needle, attach to the frame ordinary artificial flowers. 

When these are grouped with taste, the effect is very striking. Great care 
should be observed in preparing the border of over-lapping leaves. Trailling 
vines produce a beautiful effect. 

Those who understand leather-work, can prepare beautiful shades of flower- 
pattern for lamps. The flowers have, however, this advantage, that, being 
slightly transparent, they appear much better by night when the lamp is lighted. 



SILKS. 



Silks are known by the names of sewing silks, the best being the Italian silk, 
Crochet, Netting, Dacca, Floss, Filoselle, China, &c. There is also a very deli- 
cate netting silk wound on reels, used for very fine purses. The French name 
is Soie d' Avignon. 




TATTINU OR FRIVOLITE. 227 

TAPESTRY. (See Canvas Work.) 
TATTING, OR FRIVOLITE. 

TATTING OPEN STITCH. « 

Take your tatting needle, and, having 
threaded it with the appropriate material, 
make a knot at the end. In order to make 
the loops, put the knot just made, on the fore- 
finger of the left hand, and form also a loop round the second, third, and fourth 
fingers, extending them for that purpose. These loops are made by carrying 
the thread round the back of them, bringing it to the forefinger again, so as to 
pass over the knot. In this position they must be held tightly down by the 
pressure of the thumb. You will observe that the thumb and forefinger are 
never to be moved while you form the scallop, but you are to bring the needle 
and thread toward you, in a straight direction from the forefinger and thumb, 
between the second and third fingers : the needle is then to be inserted from be- 
hind the finger loop, up through the middle, between the thread which is on the 
needle, and the thread round the fingers. You must be careful to have the 
thread (on the needle) between you and the needle, after you have drawn it 
through. From the right hand to the left, the needle must be extended as tight as 
possible, leaving loose the loop which is round the finger, as you make the stitch 
with the loop, and not with that portion of the thread which is next the needle. 
You are to withdraw the second finger, and allow the loop round the fingers to 
form round the thread. The fingers are then to be again inserted, and form 
the stitch with the second finger by drawing it up to its proper place, close to 
the thumb. This will finish the stitch. For the next, cast the thread over the 
back part of the hand, instead of bringing it to you as in the former stitch, and 
let the needle be inserted down through the finger loop, between the first and 
second fingers ; then draw it up through between the two threads over the back 
part of the fingers, and form the stitch with the second one, as in the previous 
stitch. You work the third stitch the same as the first, only longer, that it may 
form a long loop. Repeat the second stitch, then the long. Loop, and thus pro- 



228 



TATTING OR FRIVOLITE. 



ceed until you have seven loops ; after this, the thread is to be drawn up, so as 
to form the scallop. 



STAR TATTING. 

The material for this kind of work is bobbin, such as 
is generally used for children's caps. You have only to 
work six scallops, and draw them up close, so as to form 
a star. When made with precision and regularity, they 
present a neat appearance. Star tatting is well adapted 
for trimmings to a great many articles of apparel and 
ornament. 




COMMON TATTING EDGING. 

Make the loops, and work the first stitch as in the first 
pattern ; then work twenty stitches the same way to form the 
scallop. When it is finished, you must draw up the thread tight, and then 
commence another. If it has been properly done, the scallop will draw 
freely. 




SPECIMEN OF TATTING OR FRIVOLITE. 



TRIMMING IN TATTING OR FRIVOLITE. 

Materials. — Brooks's Knitting Cord, No. 40, steel shuttle, and a purling 
pin. 

This trimming consists of scallops, of which the edge is formed by a series of 
clusters of leaves in tatting, with wheels of the same work in the centre of each. 



TATTING OR FRIVOLITE. 229 

The leaves are formed of seven loops of tatting, and five of these go round each 
scallop. The wheel is connected with the edging by bars of button-hole stitch, 
done in the same tatting cotton, the button-hole stitch being worked on two 
threads. A row of the same forms the foundation, and joins the scallops toge- 
ther. They are attached to the foundation, at the edge of the three first, and 
three last loops. The centre loop of the first leaf of one* scallop should just 
touch the corresponding loop of the last leaf of the next. 




TRIMMING IN TATTING OR FRIVOLITE. 



For the Scallop. — On beginning the first loop, leave about a yard of the 
thread, or more, if you can manage a long needleful. Thread this with a coarse 
sewing needle. 

1st loop : 22 double stitches, 1 picot, 4 double, 1 picot, 4 double. Draw up 
the loop tightly, and with the needle do 4 button-hole stitches on the thread 



230 TATTING OR FRIVOLITE. 

which connects the shuttle and loop. Make a picot on the same thread, and do 
4 more button-hole stitches. 

2nd : 4 double stitches ; join to the last picot of the first loop, 4 double 
stitches ; join to the next picot, 14 double stitches, 1 picot, 4 double stitches, 
1 picot, 4 double. Draw up the loop tightly. Work on the thread with the 
needle, as after the last loop. 

3rd : Like 2nd. After drawing it up, work two button-hole stitches only on 
the thread. 

4th (and centre) : 4 double stitches, join to the last picot ; 4 double stitches, 
join to the next ; 20 double, 1 picot, 4 double, 1 picot, 4 double. Draw it up, 
and do 2 button-hole stitches with the needle. 

5th : Like 2nd. When drawn up, work 4 stitches on the thread, pass the 
needle through the picot last made with the needle, and do 4 more. 

6th : 4 double, join to the last picot, 4 double, join to the next ; X 7 double, 
1 picot, X twice ; 4 double, 1 picot, 4 double. Draw it up, and work on the 
thread, as in the 5th. 

7th : Like 6th. Draw it up and work 8 stitches on the thread with the needle ; 
join to the last picot ; 8 stitches, join to the next ; 16 stitches, make a picot, 8 
more, make a picot, 8 more. Now resume the shuttle. A single cluster of 
leaves being formed. 

1st loop of the 2nd, and all following sets of leaves : 4 double stitches, join to 
the last picot on the thread ; 4 double, join to the next ; 7 double, join to the 
picot at the point of the last leaf; 7 double, 1 picot, 4 double, 1 picot, 4 double. 
Draw it up tightly ; do 4 button-hole stitches on the thread ; make a picot, 4 
more button-hole stitches. 

2nd loop : X 4 double, join to the corresponding picot of the last loop, X 
twice. 7 double, join to the picot at the point of the 6th leaf of the last set ; 7 
double, 1 picot, 4 double, 1 picot, 4 double. 

The five remaining loops to be done like those of the first set. All the re- 
maining sets like the 2nd. When finished, every five form a handsome scallop. 
When the last of the seven is done, fasten off the needleful of thread, and break 
off that of the shuttle, which also secure. Each scallop is thus complete in 
itself. 

The Wheels. — Leave a needleful of thread, as in the edging. X 4 double 



TAPE WORK. 231 

stitches, 1 picot, X twice, 7 double, 1 picot, 7 double, 1 picot, 4 double, 1 picot, 
4 double. Draw it up, and work 8 button-hole stitches on the thread. 

2nd to 5th loop, including both : 4 double, join to the last picot, 4 double, X 
1 picot, 7 double, X twice, 1 picot, 4 double, 1 picot, 4 double. Draw the loop 
up. Work 8 button-hole stitches on the thread. 

6th (and last) loop : 4 double, join to the last picot, 4 double, 1 picot, 7 dou- 
ble, 1 picot, 7 double, 1 picot, 4 double, join to the first picot of the first loop, 
1 double. Draw it up. Work 8 button-hole stitches on the thread, and fasten 
off both ends. 

To Make up the Work. — Tack the scallops on colored paper, lined with 
glazed calico ; place a wheel in the centre of each scallop ; work a rosette in the 
middle of each wheel, and connect the border and wheel with bars, covered with 
button-hole stitch. If this trimming be used for straight edgings, the paper on 
which it is tacked, should be straight ; if for sleeves, it should be cut out in the 
proper form, otherwise the foundation line of the button-hole stitches will not 
sit so well. 



TAPE-WORK. 

Tape Work is now very much worn for trimming under clothes and children's 
dresses. It is made of various widths, according to the garment to be trimmed. 
Broad linen tape is used for skirts, and very narrow for chemises, drawers, col- 
lars, &c. There are four or five ways of making it, and it is easily learned by 
purchasings small piece already made, and ripping it to pieces, the folds remain- 
ing distinctly marked. It is impossible to describe the process of making it, so 
as to be intelligible. It is very pretty and extremely serviceable. Formed into 
rosettes, united by some fancy stitch, it makes very pretty collars. Infants' 
dresses, with a hem, and then a row of narrow tape trimming, and then another 
hem, are very pretty ; or tucks between the trimming. 



232 TISSUE PAPER. 

TRANSFERRING. 

Transferring is taking embroidery from the worn out ground work, and sew- 
ing it very neatly on to new. If parts of the original pattern are imperfect, 
others can be added from some other piece. For instance, two very handsome 
collars may be worn out, and a new one can be made by selecting the best work 
from both. Of course, this requires skill and taste in arranging, and great neat- 
ness in execution, but well done it is almost equal to new. Muslin work can be 
transferred on to new muslin or on net. Point Lace or Honiton are better fin- 
ished by some of the lace stitches or bars. The edge of muslin transferring 
must be button-hole stitch. The work must be very carefully cut out with sharp 
scissors and tacked on the oil-cloth, known as Toile Ceree. Only expensive and 
elegant work is worth the trouble of transferring. 



TISSUE PAPER. (See Flowers in Wax, Feathers, &c.) 

Tissue Paper makes very pretty lamp mats, in this way. 

Cut a piece of paper the size you wish your mat to be, including the fringe. 
Take sheets of tissue paper of one, two, three, or as many colors as your mat 
will admit, but two is the prettiest. Cut the sheets of tissue paper in squares, 
or eight pieces. It will take two sheets of paper to make one mat. Then take 
the sixteen pieces, and fold each one over about three quarters of an inch wide. 
After they are all folded, pass one strip over another, until you have braided or woven 
together the whole sixteen ; of course, braiding half one way and half another, 
so as to form a square. After laying it all together, sew the outside pieces as 
far as you wish the centre of your mat, but do not go beyond. After the mid- 
dle is firmly tacked together, cut the remaining part which is to form the fringe 
in as small strips as you possibly can ; the finer it is cut, the handsomer it will 
be. Cut down to the outside of the centre square. After it is all cut, carefully 
wet the edge — that is the fringe — in clean water. Do not make it very wet. 
The best way is to lay it down on folded cloth, and dampen it gradually 



WHEELS. 233 

by pressing a piece of wet cloth on it. When the fringe is all moistened, 
shake it gradually and gently until dry. The paper will curl up and form a rich 
thick fringe. They are very pretty. Plain white, pink and white, yellow and 
green, crimson and black, brown and blue, indeed any two pretty colors look 
well. The expense is very trifling, and the work is very pretty. 



VELVET BALLS. 



Velvet Balls are used for trimming rigolettes, &c. They are made of 
zephyr wool, of the same color as the article to be trimmed. Wind the wool 
evenly over the hands of another person, Or on a machine, taking care that 
whatever you use is held firmly, so as to make the wool smooth and secure. To 
thread the balls, thread a rug needle with the wool, and attach it to the work. 
Make a thick knot and slip on balls, which are made by tying a number of 
strands together at regular intervals, and cutting them between every two ties. 
Shave them evenly when all done. 



WIRE WORK. (See Bead Work.) 



WHEELS. 

The Wheel is very much used in Embroidery, and is capable of a very great 
variety of designs. We give some specimens of the different kinds, and also a 
handsome pattern for flouncing. 




patterns for wheels. 



234 



WORSTED WORK. 




WHEEL PATTERN FOR FLOUNCING. 



WORSTED WORK. (See Canvas Work) 
Under the head of Berlin or Canvas Work, have been given all the directions 
for that kind of work, but we give a few additional patterns, calling them "Worsted 
Work," as that is the name by which it is still recognized by many. 



chess table cover in worsted work. 



Materials. — A square of rather coarse canvas. Filoselle of the following 
colors : rich crimson, blue, and maize. Crimson and maize silk cord, and blue 
bullion fringe. 

Select the ordinary square canvas for this work. Great care should be ex- 
ercised in choosing the colors that will blend well. The whole of the pattern is 



WORSTED WORK. 



235 



done in the maize silk, the squares being grounded alternately in crimson and 
blue. The upper part of the border is also grounded in one color, and the lower 
in another. A corner for the border is given. 

By the aid of two illustrations, this cover can be worked without any trouble. 
It is done in ordinary cross-stitch, and the proper selection of materials is the 
only difficulty, as much of the effect depends on the size of the canvas, and the 
contrast of the colors. 



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COVER FOR CHESS TABLE. 



236 WORSTED WORK. 

Tables with handsome pedestals, and common tops, fit either for covering 
with bead-work, or with such a moveable cover as this, can readily be procured. 




COVER FOR CHESS TABLE. 



COVER FOR TABLE IN WORSTED WORK. 

When a pleasing combination of color is sought in a pattern of any kind, it is 
much more likely to be obtained by treating the color as so many mere spots or 
portions of a geometrical figure, and by disposing them solely with reference to 
effect, than by beginning at the other end, and thinking it essential to imitate 
some definite object, such as a leaf or flower, which is often very ill adapted to 
the purpose, and after all is badly executed in detail. The general effect is thus 
marred, and no excellence of the part produced is sufficient to compensate for its 
loss. The present fashion of worsted work, as executed by ladies, often displays 
still more perverted ingenuity and misapplied labor. Whole pictures, requiring 
for their proper effect, either of composition or color, the most delicate half-tints 
and softened shadows, are executed in little inharmonious square patches, with 
the most labored accuracy, and when finished are greatly inferior to a colored 
print. The pattern best adapted to this kind of work is such as is given in the 
design, in which a skilful arrangement of geometrical figures almost makes the 
pattern. 



WORSTED WORK. 



237 



The principle of the pattern is visible, especially in Eastern work, such as 
Turkey and Persian carpets, and cashmere shawls — thick, close patterns, strongly 
contrasted in color, so small in the details that nothing but the general effect is 
apprehended by the eye, and that any portion of it, however minute, is, as to 
color, complete in itself. 




COVER FOR TABLE IN WORSTED WORK. 



238 WORSTED WORK. 

PATTERN FOR WORSTED WORK. 

This pattern is suitable for the centre of a table cover, hearth-rug, or sofa- 
cushion. 

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EMBROIDERY PATTERN. 



WORSTED WORK. 239 

WORSTED WORK. 

A pretty and simple kind of worsted work is done by running zephyr -wool 
into net, either white or black. The worsted may be of any color or colors. 
The net must be the diamond shaped. The stitch is simple darning ; taking up 
a thread and missing a thread. It makes pretty bags, sofa-pillows, and many 
other articles, and is simple and pretty work for little girls. Purple and green 
worsted on white net, looks well. 



CONCLUSION. 



In taking leave of her readers, the compiler of this volume cannot refrain 
from offering a few remarks on the importance of needle work as a branch of 
female education. She cannot but regard it as essential to a woman's happi- 
ness, not less than her usefulness, in accomplishing this mission of her life. If 
Providence has placed her in a humble or middle station of life, the ability to 
use her needle with skill in useful or ornamental work, enables her greatly to 
promote the well being and comfort of her family, and to gain and preserve that 
peace of mind which results from the consciousness of being useful. If she is 
placed in a more elevated station, her leisure hours may be passed, not only 
- yith. pr/fit, but with pleasure, in executing those beautiful fabrics of the needle, 
which jlontribute so largely to the adornment of her person and her dwelling. 
She should by no means neglect the cultivation of her mind, by reading and 
study. But there are many hours in the day when the mind recoils from this 
species of employment, and turns to those in which the hands are engaged, 
while the thoughts are free ; then the needle is the grand resort, and skill in its 
use becomes the source of unalloyed happiness. Thousands of ladies of the 
highest birth and fortune, can bear testimony to the truth of this remark; while 
others, who scorn the needle as the badge of drudgery, seek in vain for quiet 
pleasure, and are consumed with ennui and listlessness. 

Fortunately for American ladies, the use of the needle in this country is fash- 
ionable in all the wealth of life ; and those who are ignorant of it, whether they 



240 CONCLUSION. 

are aware of the fact or not, are condemned by the public sentiment of so- 
ciety. 

In contributing her mite to the advancement of the practice of needlework, 
the writer feels that she is doing good service to the commonwealth ; and she 
trusts that her labours will be regarded with that indulgent kindness which the 
American public never withholds from those who are sincerely engaged in the 
promotion of a good cause. 



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